By Ray Pride Pride@moviecitynews.com

KINO LORBER ACQUIRES ALL US RIGHTS TO ALAIN RESNAIS’ YOU AIN’T SEEN NOTHIN’ YET, SOON TO PREMIERE AT THE 50th NEW YORK FILM FESTIVAL

New York, NY – September 25, 2012 – Kino Lorber is proud to announce the acquisition of all U.S. rights to Alain Resnais’ YOU AIN’T SEEN NOTHIN’ YET, a beautiful and poetic ensemble film about love and theater from the acclaimed director of LAST YEAR AT MARIENBAD and HIROSHIMA MON AMOUR – as well as the recently released WILD GRASS.

The rights have been acquired from STUDIOCANAL, who co-produced the film and manage its international sales.

An official selection of the upcoming 50th New York Film Festival, YOU AIN’T SEEN NOTHIN’ YET features an impressive cast that includes some of the most acclaimed names in French (and international) cinema. Among them are: Mathieu Amalric (Cosmopolis), Pierre Arditi (Private Fears in Public Spaces), Sabine Azema (Wild Grass), Hippolyte Girardot (Lady Chatterley), Anne Consigny (A Christmas Tale), Michel Piccoli (Habemus Papam) and Lambert Wilson (Of Gods and Men), to name a few.

The film is set to have its North American Premiere on October 2, 2012, at The 50th New York Film Festival; Kino Lorber will release YOU AIN’T SEEN NOTHIN’ YET in all major markets in early 2013.

Here’s the official NYFF copy for the film:

“Based on two works by the playwright Jean Anouilh, YOU AIN’T SEEN NOTHIN’ YET opens with a who’s-who of French acting royalty being summoned to the reading of a late playwright’s last will and testament. There, the playwright (Denis Podalydès) appears on a TV screen from beyond the grave and asks his erstwhile collaborators to evaluate a recording of an experimental theater company performing his Eurydice-a play they themselves all appeared in over the years. But as the video unspools, instead of watching passively, these seasoned thespians begin acting out the text alongside their youthful avatars, looking back into the past rather like mythic Orpheus himself.

“Gorgeously shot by cinematographer Eric Gautier on stylized sets that recall the French poetic realism of the 1930s, YOU AIN’T SEEN NOTHIN’ YET is an alternately wry and wistful valentine to actors and the art of performance from a director long fascinated by the intersection of life, theater and cinema.” (The 50th New York Film Festival; The Film Society of Lincoln Center).

Kino Lorber CEO Richard Lorber negotiated the deal with Vanessa Saal, VP International Sales at STUDIOCANAL. He commented: “We are exceptionally pleased to bring Alain Resnais’ latest and smartest cinematic confection to American audiences. Full of surprises, wit, and poignancy, YOU AIN’T SEEN NOTHIN’ YET is a truly astonishing work from a legendary director (who’s almost 90) that reveals new possibilities for the art of cinema. We believe this aptly titled film will assume its place as a classic of tomorrow while very much delighting audiences today.”

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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