By Ray Pride Pride@moviecitynews.com

A24 PICKS UP SALLY POTTER’S GINGER & ROSA STARRING ELLE FANNING

Posted Tuesday, September 25th, 2012 - 1 Comment »
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Film will have a year-end qualifying run followed by an early 2013 release

New York, NY (September 25, 2012) – A24 announced the acquisition of GINGER & ROSA, a provocative story about friendship and betrayal featuring a sensational performance by Elle Fanning.  The Sally Potter film had its world premiere at the Telluride Film Festival followed by a Special Presentation at the Toronto International Film Festival.  Film will also screen Oct. 8 as part of the prestigious New York Film Festival.  The film also stars bright newcomer Alice Englert, Alessandro Nivola, Christina Hendricks, Timothy Spall, Oliver Platt, and Annette Bening.  A24 plans on doing a qualifying run of the film in 2012 for awards consideration followed by a theatrical release in early 2013. 

A24 says: “We fell in love with Ginger & Rosa.  We’ve been fans of Sally’s for a long time.  She has crafted a touching, heartfelt, and extraordinary work anchored by an absolutely incredible performance by Elle Fanning which already has a tremendous amount of love from audiences and journalists alike.  We look forward to bringing the film to a wide audience and showing the world one of the best performances of the year.”

Of the partnership Potter says, “I am very excited to join forces with this new, dynamic company whose passion for movies, focused energy and bold imagination make it the ideal home for Ginger & Rosa.”

GINGER & ROSA was produced by Christopher Sheppard and Andrew Litvin for Adventure Pictures and marks Potter’s sixth time behind the camera since splashing onto the scene with ORLANDO.

The deal was negotiated with A24 by Bart Walker and John Sloss of Cinetic Media on behalf of the filmmakers. International Sales are being handled by The Match Factory.

FILM SYNOPSIS:

London,1962. Two teenage girls – GINGER & ROSA – are inseparable. They skip school together, talk about love, religion and politics and dream of lives bigger than their mothers’ domesticity. But the growing threat of nuclear war casts a shadow over their lives. Ginger (Elle Fanning) is drawn to poetry and protest, while Rosa (Alice Englert) shows Ginger how to smoke cigarettes, kiss boys and pray. Both rebel against their mothers: Rosa’s single mum, Anoushka (Jodhi May), and Ginger’s frustrated painter mother, Natalie (Christina Hendricks). Meanwhile, Ginger’s pacifist father, Roland (Alessandro Nivola) seems a romantic, bohemian figure to the girls. He encourages Ginger’s ‘Ban-the-Bomb’ activism, while Rosa starts to take a very different interest in him. As Ginger’s parents fight and fall apart, Ginger finds emotional sanctuary with a gay couple, both named Mark (Timothy Spall and Oliver Platt), and their American friend, the poet Bella (Annette Bening). Finally, as the Cuban Missile Crisis escalates – and it seems the world itself may come to an end – the lifelong friendship of the two girls is shattered. Ginger clutches at one hope; if she can help save the world from extinction, perhaps she too will survive this moment of personal devastation.

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About A24 FILMS

About A24

Launched in 2012, and founded by film executives Daniel Katz, John Hodges and David Fenkel, A24 is a New York-based film company focused on distribution, financing and production. A24 will acquire finished films, and also finance and produce its own content.  The company plans to distribute eight to ten titles per year, several of which will have wide theatrical releases.  Roman Coppola’s A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III, starring Charlie Sheen, Bill Murray and Jason Schwartzman, marks the company’s first acquisition title and the film is slated for release in February 2013.

Facebook.com/A24Films

A24Films.com

 

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

One Response to “A24 PICKS UP SALLY POTTER’S GINGER & ROSA STARRING ELLE FANNING”

  1. Daniella Isaacs says:
    September 26, 2012 at 7:23 am

    So is THE GOLD DIGGERS (Potter’s first feature, not ORLANDO, as implied) still unmentionable in the director’s filmography?

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