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FILMNATION ENTERTAINMENT TO INTRODUCE PAUL GREENGRASS’ BARÇA

Posted Thursday, May 17th, 2012 - Comments Off on FILMNATION ENTERTAINMENT TO INTRODUCE PAUL GREENGRASS’ BARÇA
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FC Barcelona Documentary will be Shopped to International Buyers at Cannes

Cannes (France) – May 17, 2012 – FilmNation Entertainment will handle international sales on the documentary BARÇA from director Paul Greengrass (Bourne Ultimatum, Bourne Supremacy, United 93). Richard Brown will produce for Anonymous Content and world renowned sport and political writer John Carlin will executive produce. Chris King (Senna) will edit. Anonymous Content is financing and handling US sales.

Currently in pre-production, BARÇA is an epic cinematic portrait of FC Barcelona (‘Barça’), focusing specifically on a journey that led Barça to the apotheosis of the world game over a four-year period during which they won everything there was to win, triggering near unanimous admiration. Football is by far the world’s favorite pastime, uniting devotees across every religion, race, culture and language.

FilmNation’s Glen Basner said: “Football is the most popular and fan-driven sport around the world. With Paul’s tremendous talent, this is sure to become the singular film on football”.

Director Paul Greengrass said, “I’m excited to tell the extraordinary story of BARÇA and their magnificent achievements under Pep Guardiola on film. They have given the world a rare glimpse of sporting perfection, and memories that will last for as long as the game is played.”

Producer Richard Brown added, “BARÇA and Paul Greengrass is a mouthwatering combination, and presents an opportunity to make an exhilarating film that will appeal to audiences worldwide.”

At Cannes, FilmNation Entertainment is also handling international sales on THE BLING RING from director Sofia Coppola, Pedro Almodóvar’s comedy LOS AMANTES PASAJEROS, and TRACERS starring Taylor Lautner and produced by Temple Hill Entertainment. In addition, FilmNation has two in-competition titles: LAWLESS from director John Hillcoat starring Shia LaBeouf and Tom Hardy; and Jeff Nichols’ MUD which is also produced by FilmNation’s Aaron Ryder, starring Matthew McConaughey and Reese Witherspoon.

About FilmNation Entertainment

One of the leading independent international sales & distribution and production companies in the world, FilmNation Entertainment was founded in 2008 by veteran international sales executive Glen Basner.

FilmNation Entertainment produced The Raven starring John Cusack as Edgar Allan Poe, which opened earlier this year from Relativity, along with House at the End of the Streetstarring Jennifer Lawrence in theaters fall 2012 also opening from Relativity. Additional production titles from FilmNation include Chernobyl Diaries opening at the end of May from Warner Bros.; currently developing Guy Hibbert’s screenplay Eye in the Sky; James McTeigue’s Message From the King from writers Oliver Butcher and Stephen Cornwell;F*cking Engaged which will star Jessica Biel; The Faces to be directed by Paul Solet; andThe Amateur American to be directed by Ross Katz.

FilmNation has delivered on its philosophy of providing an unrivaled level of “added value” for its clients across all aspects of its business and serves as the exclusive international sales agent for Relativity Media, Media Rights Capital (MRC), Samuels Media Group, GreeneStreet Films and a non-exclusive multi-picture deal with Endgame Entertainment.

For more information please go to: www.wearefilmnation.com or follow FilmNation on twitter http://twitter.com/wearefilmnation.

About Anonymous Content

Founded in 1999, Anonymous Content is a production and management company based in Los Angeles, New York and London where talent comes first. We manage exceptional directors, writers, actors, and comedians, and work closely with them to achieve their goals, whether in feature films, television, commercials, music videos, or brand integrated content. We guide careers with confidence, relying on our experience in every area of the changing media landscape. Alongside our distinguished clients, we continue to grow our outstanding reputation in the entertainment and advertising industries.

The Commercial Division has the largest and most diverse directorial roster in the advertising community. Our directors have the visual and storytelling expertise to consistently create highly distinguished short films and commercials for all brands and campaign strategies. We have had the pleasure of producing some of the most memorable and acclaimed television commercial campaigns in recent history, such as BMW, HP, Chrysler, Sony, Coke, Microsoft, Nike, Levi’s, Kia, Nissan, Citibank, NFL, Ford, Chevy, Gatorade, Xbox, GE, VW and Axe.

In film and television, Anonymous Content has developed a reputation for cultivating artistic freedom while maintaining a commercial sensibility. The company is known for producing adventurous, director-driven work, such as BEING JOHN MALKOVICH, ETERNAL SUNSHINE OF THE SPOTLESS MIND, and BABEL, all of which received numerous accolades, including Academy Award and Golden Globe wins and nominations. In 2011, WINTER’S BONE was nominated for Best Picture at the Academy Awards. The Feature Division has its share of commercial and mainstream successes as well, such as NURSE BETTY and 50 FIRST DATES.

In 2012 Anonymous produced Universal’s BIG MIRACLE, starring Kristen Bell, Drew Barrymore, John Krasinski, Dermot Mulroney and Ted Danson. The company is in readying for the release of SEEKING A FRIEND FOR THE END OF THE WORLD, directed by Lorene Scafaria and starring Steve Carell and Keira Knightley, and is in post production on Josh Schwartz’ FUN SIZE, for Paramount.

The company has recently entered the world of television and is about to begin production on TRUE DETECTIVE, an original series starring Woody Harrelson and Matthew McConaughey, which will be directed by Cary Fukunaga (SIN NOMBRE, JANE EYRE). Anonymous has several television projects in development at the major networks including HBO, Showtime and AMC. With several clients directing pilots in the current television season, Anonymous Content is making bold moves in the world of series entertainment.

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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