By Ray Pride Pride@moviecitynews.com

THE WORLD’S END, THIRD COMEDY TEAMING DIRECTOR EDGAR WRIGHT WITH STARS SIMON PEGG AND NICK FROST, COMMENCES PRODUCTION

Posted Friday, September 28th, 2012 - Comments Off on THE WORLD’S END, THIRD COMEDY TEAMING DIRECTOR EDGAR WRIGHT WITH STARS SIMON PEGG AND NICK FROST, COMMENCES PRODUCTION
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LONDON, September 28, 2012— Working Title Films and Big Talk Productions have commenced filming on The World’s End, the third installment of Edgar Wright’s trilogy of comedies, following the successes Shaun of the Dead (2004) and Hot Fuzz (2007).  The new movie is filming in the U.K. As with the first two movies in the trilogy, Universal Pictures International (UPI) will distribute The World’s End internationally and Focus Features will distribute it in North America.

As with the two earlier pictures, Mr. Wright co-wrote the script with Simon Pegg, who will once again star alongside Nick Frost. Joining the team are actors Martin Freeman (Shaun of the Dead, The Hobbit), Paddy Considine (Hot Fuzz, The Bourne Ultimatum), Eddie Marsan (Sherlock Holmes), and Rosamund Pike (Jack Reacher).

The World’s End also marks Mr. Wright’s third movie with Working Title and Big Talk, following Shaun of the Dead and Hot Fuzz; The World’s End is produced by Nira Park of Big Talk and Working Title’s Tim Bevan and Eric Fellner. The film will be executive-produced by James Biddle, Mr. Wright, Mr. Pegg, Mr. Frost, and Liza Chasin.

Mr. Wright is also reteaming with such creative collaborators as director of photography Bill Pope, production designer Marcus Rowland, hair and make-up designer Jane Walker, editor Paul Machliss, stunt coordinator Bradley Allen, and VFX Double Negative. Guy Speranza is the film’s costume designer.

In The World’s End, 20 years after attempting an epic pub crawl, five childhood friends reunite when one of them becomes hellbent on trying the drinking marathon again. They are convinced to stage an encore by mate Gary King (Simon Pegg), a 40-year-old man trapped at the cigarette end of his teens, who drags his reluctant pals to their hometown and once again attempts to reach the fabled pub – The World’s End.  As they attempt to reconcile the past and present, they realize the real struggle is for the future, not just theirs but humankind’s. Reaching The World’s End is the least of their worries.

Working Title Films, co-chaired by Tim Bevan and Eric Fellner since 1992, is one of the world’s leading film production companies. Founded in 1983, Working Title has made nearly 100 films that have grossed over $5 billion worldwide. Its films have won six Academy Awards, 30 BAFTA Awards, and prizes at the Cannes and Berlin International Film Festivals. Working Title’s 2012/2013 slate also includes Les Misérables, directed by Tom Hooper and starring Hugh Jackman, Russell Crowe, and Anne Hathaway; John Crowley’s Closed Circuit, starring Eric Bana and Rebecca Hall; Hossein Amini’s The Two Faces of January, starring Viggo Mortensen, Kirsten Dunst, and Oscar Isaac; Dan Mazer’s I Give It a Year, starring Rose Byrne and Rafe Spall; the telefilm Mary and Martha, directed by Phillip Noyce and written by Richard Curtis, starring Hilary Swank and Brenda Blethyn; Ron Howard’s Rush, starring Chris Hemsworth and Daniel Brühl; and Joe Wright’s epic love story Anna Karenina, starring Keira Knightley, Jude Law, and Aaron Taylor-Johnson.

Big Talk’s credits include all of Edgar Wright’s films to date: Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. the World, and Greg Mottola’s Paul, written by and starring Simon Pegg and Nick Frost with Kristen Wiig. Most recently Big Talk developed and produced Joe Cornish’s debut feature Attack the Block, which was released to critical acclaim in 2011, winning all four Audience Awards at Sitges, SXSW, the LAFF, and Fantasia International Film Festival. Next up for Big Talk is the black comedy Sightseers, directed by Kill List’s Ben Wheatley. The film had its world premiere at Cannes with a Special Screening in the Directors’ Fortnight section. It will have a Gala Screening at the London Film Festival, and will be released in the U.K. in November. Big Talk is currently in production on Cuban Fury, a dance comedy starring Nick Frost, Chris O’Dowd, and Rashida Jones, directed by James Griffiths; and Jeremy Lovering’s psychological thriller In Fear.

Universal Pictures International and Focus Features 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