By Ray Pride Pride@moviecitynews.com

SONY PICTURES CLASSICS TO EXPAND WOODY ALLEN’S BLUE JASMINE TO OVER 1,200 SCREENS NATIONWIDE

Posted Wednesday, August 21st, 2013 - Comments Off on SONY PICTURES CLASSICS TO EXPAND WOODY ALLEN’S BLUE JASMINE TO OVER 1,200 SCREENS NATIONWIDE
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FOR IMMEDIATE RELEASE                                  

New York, NY (August 21, 2013) –  Sony Pictures Classics announced today that they will expand Woody Allen’s latest box office success BLUE JASMINE from 229 to over 1,200 screens nationwide this weekend.  This surpasses MIDNIGHT IN PARIS’ screen count, marking BLUE JASMINE as the widest release of any Woody Allen film.

The film has garnered $9,943,025 million in box office grosses since its July 26th limited release and has had numerous box office achievements including breaking opening weekend house records at the Angelika Film Center and City Cinemas 1, 2, 3, in New York City, BAM in Brooklyn as well as breaking both opening weekend and second weekend records at the Clay in San Francisco. On opening weekend, the film averaged $102,011 per screen in six theaters – one of the top limited openings of all time. This is Allen’s 44th feature film that he has written and directed and his sixth film with Sony Pictures Classics.

Please visit www.BlueJasmineFilm.com for theater locations and show times. 

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.

Barker and Bernard have released prestigious films that have won 27 Academy Awards (23 of those at Sony Pictures Classics) and have garnered 114 Academy Award nominations (93 at Sony Pictures Classics) including Best Picture nominations for AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services, and technologies; and distribution of filmed entertainment in more than 100 countries. Sony Pictures Entertainment can be found at 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