By Ray Pride Pride@moviecitynews.com

GREY REMBERT JOINS THE KENNEDY/MARSHALL COMPANY AS PRESIDENT OF PRODUCTION: Frank Marshall now sole head of the company

Posted Thursday, August 9th, 2012 - Comments Off on GREY REMBERT JOINS THE KENNEDY/MARSHALL COMPANY AS PRESIDENT OF PRODUCTION: Frank Marshall now sole head of the company
Be Sociable, Share!

(Los Angeles, August 9, 2012) –  As part of the newly reorganized Kennedy/Marshall Company, founder Frank Marshall announced today that respected development executive Grey Rembert – longtime colleague of Kennedy and Marshall – will come on board as President of Production.  Marshall will now be sole head of the company.

The announcement comes at a busy time for the company, which has Tony Gilroy’s THE BOURNE LEGACY being released on August 10 and is currently in post-production on Steven Spielberg’s upcoming LINCOLN.  They also have many film, television and gaming projects in development, including the fourth installment of the blockbuster franchise JURASSIC PARK.  The Kennedy/Marshall Company, which has a longstanding first-look film deal with DreamWorks, recently announced a two-year overall deal with CBS Television Studios, and also has plans to expand into documentaries and digital media.

“I couldn’t be more excited to have Grey joining me at Kennedy/Marshall,” said Marshall. “She is a talented, seasoned professional and it is a pleasure to be reunited since she began her career working for me and Kathy at Amblin.”

“I’m excited by this opportunity to work with longtime friends and family. Kathy and Frank inspired me to work in the movie business and gave me the best training ground at Amblin Entertainment. Working alongside Frank is a dream come true…it just doesn’t get better than this” said Rembert.

Grey Rembert is a feature film executive who most recently served as Senior VP of Development at GK Films.  While at GKF, Rembert championed such projects as HUGO which was nominated for 11 Academy Awards, including Best Picture and Best Director, and went on to win five Oscars. Her six years at GK Films also included collaboration on such acclaimed projects as: THE TOWN, THE TOURIST, THE RUM DIARY, and THE YOUNG VICTORIA

Before GK Films, Rembert was an executive at DreamWorks, specializing in acquiring literary material for feature film development.

Rembert got her start in the business 25 years ago, when the Pepperdine grad was hired by Kathleen Kennedy and Frank Marshall at Amblin Entertainment.

The Kennedy/Marshall Company has produced such Academy Award nominated Best Picture films as WAR HORSE (six nominations), THE CURIOUS CASE OF BENJAMIN BUTTON (thirteen nominations) THE SIXTH SENSE, (six nominations) and SEABISCUIT (seven nominations), as well as blockbusters including the BOURNE series and THE ADVENTURES OF TINTIN. The Kennedy/Marshall Company continues to expand its current slate of projects via its development deals with DreamWorks and CBS TV Studios.

http://kennedymarshall.com/

# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on GREY REMBERT JOINS THE KENNEDY/MARSHALL COMPANY AS PRESIDENT OF PRODUCTION: Frank Marshall now sole head of the company

Comments are closed.

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