By Ray Pride Pride@moviecitynews.com

ATLAS ENTERTAINMENT PROMOTES ANDY HORWITZ AND JAKE KURILY TO VPs

FOR IMMEDIATE RELEASE                          

Round of Promotions Will Also See Curt Kanemoto Move Up to Production Executive, With Rebecca Roven and Dan Wiedenhaupt Promoted to Creative Executives

LOS ANGELES, CA, September 19, 2012 – Charles Roven, founder of Atlas Entertainment, announced today that Andy Horwitz, formerly a Creative Executive at the production company, has been promoted to Vice President. As part of a round of promotions at Atlas, Director of Development Jake Kurily, has also been promoted to Vice President. Horwitz and Kurily will help oversee production and development for Atlas Entertainment’s film and television projects. Horwitz and Kurily will also work on the production and development of Atlas Independent’s films. In addition, Horwitz will continue to manage publicity for both companies with IDPR and DDA. Former on-set Atlas Production Liaison for MAN OF STEEL, Curt Kanemoto has been promoted to Production Executive, with Rebecca Roven and Dan Wiedenhaupt promoted to Creative Executives.

“My producing partners Richard, Alex, William, and I are pleased that as our  business ventures expand and slate of films continue to grow, we have such great human resources here that we can promote from within,” said Charles Roven.

Horwitz began at Atlas in 2007 assisting Roven on such films as THE BANK JOB, GET SMART, THE DARK KNIGHT, THE INTERNATIONAL and SEASON OF THE WITCH. Horwitz is an associate producer on the Atlas Independent produced REVENGE FOR JOLLY!, which was recently acquired by Sony Pictures Worldwide Acquisitions. Andy’s also an associate producer on the recently wrapped Atlas Independent film OPEN GRAVE directed by Gonzalo Lopez-Gallego and written by Edward and Chris Borey.

In late 2006,Kurily joined Atlas Entertainment as an assistant to the VP of Development and Production, quickly becoming a Creative Executive a year later, and soon after the Director of Development.  Kurily found and was instrumental in helping to set up the Black List script WINTER’S DISCONTENT at Sony.

Kanemoto previously assisted Roven on such films as GET SMART, THE DARK KNIGHT, THE INTERNATIONAL and SEASON OF THE WITCH. He currently serves as the Atlas Entertainment Production Executive and Director of Business Affairs. In addition to continuing his work on MAN OF STEEL, Kanemoto is also working in a creative capacity on multiple Atlas development projects.

Rebecca Roven assisted Charles Roven on SEASON OF THE WITCH, as well as THE DARK KNIGHT RISES and the upcoming MAN OF STEEL. She is also an associate producer on Atlas Independent’s REVENGE FOR JOLLY!

Joining Atlas in 2010, Wiedenhaupt began his career with the company under William Green, the head of Atlas Independent, assisting him with Atlas Independent’s  full slate of projects from development through production including REVENGE FOR JOLLY!, GET LUCKY, and associate produced the Atlas Independent feature OPEN GRAVE which is currently in post production.

ABOUT ATLAS ENTERTAINMENT

Atlas Entertainment, led by founder Charles Roven, is built on a stellar reputation of creative collaboration, innovation and fiscal responsibility. With an expertise in producing blockbuster films as well as critically acclaimed independent features, Atlas Entertainment’s films have generated billions of dollars in revenues. Roven most recently reteamed with Christopher Nolan, serving as a producer on THE DARK KNIGHT RISES, the third and final installment of THE DARK KNIGHT TRILOGY, and is also a producer on MAN OF STEEL, the Superman reboot film directed by Zack Snyder set for release on June 14, 2013. Atlas Entertainment has produced such tentpole films as THE DARK KNIGHT and GET SMART, in addition to such indie successes as the 2008 British crime thriller THE BANK JOB. Additional past film credits include BATMAN BEGINS, THE INTERNATIONAL, IDLEWILD, THE BROTHER’S GRIMM, SEASON OF THE WITCH, THREE KINGS, the worldwide box office hit SCOOBY-DOO, and its sequel SCOOBY DOO 2: MONSTERS UNLEASHED, FALLEN, Oscar-nominated TWELVE MONKEYS, and fantasy romance CITY OF ANGELS.

ABOUT ATLAS INDEPENDENT

Atlas Independent is comprised of a hands-on team of film-makers working under the umbrella of Charles Roven’s Atlas Entertainment. Led by William Green, Atlas Independent produces indie-minded movies with budgets of $10 million or less betting on the potential high profit margins of smaller films. The company has creative control on its projects and looks for independent financing, finding distribution after production. Atlas Independent’s first film REVENGE FOR JOLLY!, produced by William Green and Aaron Ginsburg, premiered at the Tribeca Film Festival in April of 2012 and shortly after acquired by Sony Pictures World Wide Acquisitions. Atlas Independent also recently completed principle photography on the Gonzalo Lopez-Gallego helmed OPEN GRAVE, also produced by Green and Ginsburg, and executive produced Sacha Bennett’s feature film GET LUCKY.

 

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One Response to “ATLAS ENTERTAINMENT PROMOTES ANDY HORWITZ AND JAKE KURILY TO VPs”

  1. Dave Freda says:

    We met at the Willhamette conference in 2011. At the time the script was named the Ice Cream Cone and the Alligator. We had a brief discussion and I gave you twenty pages. I’ve since renamed it The Bodies and rewritten the script. I would like to send you a Query letter. It is a Quarter Finalist 2012 STORY PROS International Scriptwriting Competition.

    This is a story about the experiences of an Infantry Officer, Lieutenant Dave Briganti, leading a platoon in the final phases of the Korean War.

    His mission. Bring down the mutilated bodies of three soldiers of his platoon who have been spread-eagled on the top of a heavily defended Chinese outpost, Old Baldy.

    It is inspired by my experiences as a Recon platoon leader with the 32nd regiment, 7th Infantry Division. This an event that I led in the Korean War.

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