By Ray Pride Pride@moviecitynews.com

Screen Media Acquires Media 8 Titles

FOR IMMEDIATE RELEASE 

New York, September 19, 2012 – Screen Media has acquired exclusive distribution rights to the Media 8 Library. Screen Media will begin marketing the titles at the upcoming MIPCOM in October.

“We’re very excited to be adding the Media 8 titles to our library, said Joseph Kovacs, President of Screen Media.  “Screen Media has always been a source of quality films for international buyers. The addition of the Media 8 titles to our catalog galvanizes our position as a premier supplier that can offer both quality and quantity across all platforms.”

“With Mipcom just a few weeks away, the timing could not be better,” added Michael Dwyer, Vice President of International Sales & Acquisitions. “Adding titles of this caliber to an already formidable line-up puts us in an enviable position. We anticipate a very busy market.”

In addition to its vast catalogue of quality motion pictures, the Media 8 Library contains over 30 high-profile films with top Hollywood stars, released theatrically in the last 6-8 years, and which have generated box office receipts in excess of $100M, including the Oscar winningMonster (Charlize Theron- Academy Award -Best Actress), United States of Leland (Ryan Gosling, Kevin Spacey, Michelle Williams), Upside of Anger  (Kevin Costner), Running Scared (Paul Walker, Vera Farmiga), Man About Town (Ben Affleck), and Havoc (Ann Hathaway, Joseph Gordon-Levitt).

With over 2,000 titles in its library, the Media 8 acquisition further bolsters Screen Media’s position as the leading independent distributor of quality motion pictures to the international media markets.

ABOUT SCREEN MEDIA

Screen Media Ventures, LLC, a leading global independent motion picture distribution company with a broad distribution network that includes US and international theatrical, home video, television, cable and new media distribution, with one of the largest independently owned motion picture libraries in the world. In 2011, Screen Media launched its wholly-owned ad-supported streaming channel Popcornflix, which is now available in multiple international territories and soon to expand worldwide. The Company was founded in 1999 and is headquartered in New York City. For more information, visit www.screenmedia.net.

 

# # #

Be Sociable, Share!

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