By MCN Editor editor@moviecitynews.com

PARAMOUNT INSURGE LETS FANS BOOK A DATE WITH “THE LOVED ONES” IN LOCAL THEATERS

Posted Thursday, May 3rd, 2012 - Comments Off on PARAMOUNT INSURGE LETS FANS BOOK A DATE WITH “THE LOVED ONES” IN LOCAL THEATERS
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For Immediate Release

Genre Fans Can Be The First to Bring This Much–Buzzed About Film To Their City Through Tugg

HOLLYWOOD, CA (May 3, 2012) ––At the SXSW 2012 Film Festival in March, Paramount’s Insurge Pictures announced it would release The Loved Ones in theaters nationwide this June 2012 by offering moviegoers an exciting way to see it first.  Through an innovative collaboration with Tugg, Inc., a collective action web-platform that enables individuals to choose the films that play in their local theaters, fans can sign up today at www.Tugg.com/TheLovedOnes to book a screening and invite friends to see one of the most buzzed about horror films of the summer. Those who sign up will be given notice when they can begin to set their June screenings.  Paramount and Tugg are pleased to announce the first 6 screenings of the film, beginning on June 1. Tickets are now available for these limited special events.

San Francisco

http://tugg.com/events/585

Austin

http://tugg.com/events/582

Chicago

http://tugg.com/events/587

New York

http://tugg.com/events/588

Houston

http://tugg.com/events/586

Los Angeles

http://tugg.com/events/589

Written and directed by Sean Byrne, The Loved Ones has steadily grown a large underground following due to its enthusiastic reception as a midnight movie favorite at festivals like SXSW, Fantasia and Toronto International Film Festival.  Described as “Sixteen Candles meets The Texas Chainsaw Massacre” (FlickSided.com), the film has ardent supporters who have said The Loved Ones is “raw horror fun done right” (HitFix.com) and “one of the best pure horror flicks I’ve seen in ages” (JoBlo.com).

“Those who have seen and heard about The Loved Ones have been clamoring for its theatrical release,” said Amy Powell, President, Insurge Pictures. “This is a truly terrifying film that brings new meaning to the horrors of dating and we’re excited to give fans the unprecedented opportunity to personalize their movie going experience.”

“We’re thrilled to work with Paramount’s Insurge Pictures to help give fans everywhere the unique ability to share this movie with their community. The Loved Ones is the kind of film that shocks, horrifies and entertains in a way that’s best experienced in a crowded theater,” said Tugg co-founders Nicolas Gonda and Pablo Gonzalez.

To learn more about how to bring The Loved Ones to local theaters visit: www.Tugg.com/TheLovedOnes or www.TheLovedOnesMovie.com

To view the trailer visit: www.TheLovedOnesMovie.com

For more about how Tugg works, visit the “How To” page at https://www.tugg.com/howtuggworks

About THE LOVED ONES

Lola Stone asked Brent Mitchell to the prom, but Brent said no, and now he’s screwed. What happens when Lola doesn’t get what she wants? She enlists Daddy’s help to throw a prom of her own where she is queen and Brent is king, whether he likes it or not. THE LOVED ONES is what happens when puppy love goes horribly, violently wrong. Brent should have said yes.

About Paramount Pictures Corporation

Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIA, VIAB), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Famous Productions, Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Tugg, Inc.

Tugg, Inc. (“Tugg”) is a collective action web-platform that enables individuals to choose the films that play in their local theaters.  Through Tugg, individuals are empowered to select a film, screening time, and nearby theater, and then spread the word to their immediate and online community. Once a necessary amount of people commit to attending, the event will be confirmed, and Tugg will reserve the theater, manage ticketing and ensure delivery of the film; allowing the audience to sit back and enjoy the show.  Tugg is currently working with exhibitors Alamo Drafthouse Cinema, AMC Theatres, Bow Tie Cinemas, Cinemark Theatres, Goodrich Quality Cinemas, Rave Cinemas and Regal Cinemas, and will be expanding its exhibitor offerings in the coming weeks. These exhibitors will provide theatrical venues for individually curated events showcasing Tugg’s growing library of hundreds of studio and independent films.

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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