By MCN Editor editor@moviecitynews.com

ROADSIDE ATTRACTIONS TO RELEASE SCI-FI/THRILLER BRANDED

Posted Friday, April 20th, 2012 - 1 Comment »
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FOR IMMEDIATE RELEASE

Ed Stoppard, Leelee Sobieski, Jeffrey Tambor and Max Von Sydow starrer

Wide Theatrical Release this September

Los Angeles, CA (April 19, 2012) – Roadside Attractions has acquired all North American rights to the film, BRANDED, it was announced today by Roadside Attractions Co-President Howard Cohen.  The studio plans a nationwide theatrical release this September and Lionsgate has home entertainment, VOD and other ancillary rights through their output deal.

BRANDED is a dark and mind-bending journey into a surreal, dystopian society where corporate brands have unleashed a monstrous global conspiracy to get inside our minds and keep the population disillusioned, dependent and passive.  One man’s Misha (Ed Stoppard) passion to unlock the truth behind the conspiracy will lead to an epic battle with the hidden forces that really control our world.

BRANDED is the vision of two widely respected marketing executives:  Jamie Bradshaw and Alexander Doulerain.  Bradshaw co-founded Ignition Creative, one of the leading creative advertising agencies in Hollywood.  Doulerain is Chief Creative Officer of one of Russia’s most popular TV Networks TNT.  Bradshaw and Doulerain co-wrote, produced and directed.  Ed Stoppard, Leelee Sobieski, Jeffrey Tambor, Ingeborga Dabkunaite and Max Von Sydow star.

“We’re excited to release Jamie Bradshaw and Alexander Doulerain’s mind-bending, futuristic thriller BRANDED, which is a kind of film we haven’t done before,” said Roadside Co-President Howard Cohen.

Says Jamie “The most powerful weapon on earth today is not a gun or a disease, nor is it even visible to many.  It is Marketing.  Marketing is the power to control your desires and change your mind, and if you look closer there is something about it that is not of this earth.”

Alexander says, “I worked for many years in marketing and have to say as fantastical as the plot of our movie might seem it is as real as it gets.”

The deal was negotiated by Cohen on behalf of Roadside Attractions and by Cassian Elwes and Dean Cheley for Barbossa Production S.A. and the filmmakers.

ABOUT ROADSIDE ATTRACTIONS

Roadside Attractions is a film distribution company committed to championing independent films with a willingness to entertain.  In 2011, Roadside Attractions released J.C. Chandor’s Oscar®-nominated MARGIN CALL ; ALBERT NOBBS starring Glenn Close and Janet McTeer, which garnered three Oscar® nominations, three Golden Globe nominations and two SAG Award nominations ; Robert Redford’s THE CONSPIRATOR starring James McAvoy and Robin Wright; Oscar®-winning filmmaker James Marsh’s PROJECT NIM; Miranda July’s THE FUTURE and Maryam Keshavarz’s controversial CIRCUMSTANCE.  The company’s 2009 release, THE COVE, captured the Academy Award® for Best Feature Documentary, and in 2010,  its 6 Oscar® nominations  — four, including Best Picture, for Debra Granik’s WINTER’S BONE, and two, including Best Foreign Language Film, for Alejandro González Iñárritu’s BIUTIFUL, solidified its major position on the distributor landscape. 2012 releases include FRIENDS WITH KIDS starring Adam Scott, Jennifer Westfeldt, Jon Hamm, Kristen Wiig, Maya Rudolph, Chris O’Dowd, Megan Fox and Edward Burns, and Nicholas Jarecki’s Sundance hit ARBITRAGE starring Richard Gere.

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “ROADSIDE ATTRACTIONS TO RELEASE SCI-FI/THRILLER BRANDED”

  1. nancy says:
    November 9, 2012 at 10:19 am

    What happened to this movie. I don’t recall seeing it released anywhere in the theaters or on vod??

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