By Ray Pride Pride@moviecitynews.com

SONY PICTURES ENTERTAINMENT INKS DEAL FOR NEXT FILM FROM WRITER-DIRECTOR NANCY MEYERS

Posted Monday, March 11th, 2013 - Comments Off on SONY PICTURES ENTERTAINMENT INKS DEAL FOR NEXT FILM FROM WRITER-DIRECTOR NANCY MEYERS
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CULVER CITY, Calif., March 11, 2013 – Sony Pictures Entertainment has closed a deal with Nancy Meyers to direct an untitled film to be produced by Matt Tolmach and Nancy Meyers, it was announced today by Doug Belgrad, president of Columbia Pictures, and Hannah Minghella, president of Production for the studio.  Meyers rewrote a screenplay that was originally written by Scott Neustadter and Michael Weber.

The deal returns Meyers to Columbia Pictures, where she previously made The Holiday and Something’s Gotta Give.

In the new film, the life of an American young woman gets turned upside down when she begins dating a very unlikely young man.  The complexities that follow are bigger than both of them.  The comedy is set entirely in the UK, the film will have an all British cast with the exception of the female lead.

Commenting on the announcement, Belgrad said, “We are thrilled with the way this project has turned out and we’re especially excited that Nancy intends to make it her next film. This is the kind of movie that Nancy does better than anyone else and we can’t wait to share this new movie with audiences all over the world.”

NANCY MEYERS co-wrote and directed The Parent Trap, produced and directed What Women Want, and wrote, directed and produced Something’s Gotta Give, The Holiday, and It’s Complicated.  Meyers’ first film as a writer/producer was Private Benjamin, which she produced and co-wrote with Charles Shyer and Harvey Miller; she was honored with the Writers Guild of America Award for Best Comedy Written Directly for the Screen, as well as an Academy Award® nomination for Best Original Screenplay.  She then co-wrote and produced Irreconcilable Differences, followed by Baby Boom and the box office hits Father of the Bride andFather of the Bride Part II.

 

About Sony Pictures Entertainment

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in 159 countries. For additional information, go to http://www.sonypictures.com/

 

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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