By Ray Pride Pride@moviecitynews.com

LOUIS PHILLIPS JOINS FOCUS FEATURES AS EXECUTIVE VICE PRESIDENT, PHYSICAL PRODUCTION

Posted Thursday, September 20th, 2012 - Comments Off on LOUIS PHILLIPS JOINS FOCUS FEATURES AS EXECUTIVE VICE PRESIDENT, PHYSICAL PRODUCTION
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 FOR IMMEDIATE RELEASE

 LOS ANGELES, September 20, 2012 – Louis Phillips has joined Focus Features as the worldwide film company’s executive vice president, physical production. Focus president Andrew Karpen, to whom Mr. Phillips reports, made the announcement today.

Mr. Phillips is based in Focus’ West Coast offices, overseeing physical production and post-production on all in-house film productions and outside acquisitions.

As a recent production consultant at Lionsgate Mr. Phillips was co-producer of the box office phenomenon The Hunger Games, directed by Gary Ross, and What to Expect When You’re Expecting, directed by Kirk Jones.

Mr. Karpen said, “Louis is a talented and well-respected executive with an impressive production and management background. Being both collaborative and creative, he understands the practical craft of filmmaking and will be a great addition to our team.”

Mr. Phillips executive-produced films including Martin Scorsese’s Shutter Island, David Fincher’s Zodiac, Andrew Davis’ Holes, and Chris Noonan’s Miss Potter at the production company Phoenix Pictures, where his purview during an eight-year stint encompassed physical production, post-production, and music.

He previously worked at in production posts at Jim Henson Pictures, Paramount Pictures, and Buena Vista Pictures. Mr. Phillips received a Masters of Fine Arts from the University of Southern California’s Graduate School of Cinema, Peter Stark Motion Picture Producing Program.

Focus Features and Focus Features International (www.focusfeatures.com) comprise a singular global company. This worldwide studio makes original and daring films that challenge the mainstream to embrace and enjoy voices and visions from around the world that deliver global commercial success. The company operates as Focus Features in North America, and as Focus Features International (FFI) in the rest of the world; and is celebrating its 10th Anniversary in 2012.

Current and upcoming Focus Features releases include Moonrise Kingdom, the hit movie from Wes Anderson, starring Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, and Jason Schwartzman; Sam Fell and Chris Butler’s ParaNorman, the new 3D stop-motion comedy thriller from animation company LAIKA; Jamie Travis’ contemporary comedy For a Good Time, Call…, starring Ari Graynor and Lauren Anne Miller; Closed Circuit, the suspense thriller directed by John Crowley and starring Eric Bana and Rebecca Hall; Paul Weitz’s comedy/drama Admission, starring Tina Fey and Paul Rudd; Derek Cianfrance’s drama The Place Beyond the Pines, starring Ryan Gosling, Bradley Cooper, and Eva Mendes; Gus Van Sant’s Promised Land, the contemporary drama written by and starring Matt Damon and John Krasinski; the historical tale Hyde Park on Hudson, directed by Roger Michell and starring Academy Award nominees Bill Murray and Laura Linney; and Joe Wright’s epic love story Anna Karenina, starring Keira Knightley, Jude Law, and Aaron Taylor-Johnson.

Focus Features and Focus Features International are part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. Comcast Corporation owns a controlling 51% interest in NBCUniversal, with GE holding a 49% stake.

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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