By Ray Pride Pride@moviecitynews.com

RADiUS FALLS FOR ‘THE ONE I LOVE’ AROUND THE WORLD

Posted Thursday, January 23rd, 2014 - Comments Off on RADiUS FALLS FOR ‘THE ONE I LOVE’ AROUND THE WORLD
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SINGULAR ROMANTIC COMEDY STARRING MARK DUPLASS AND ELISABETH MOSS IS DIRECTED BY CHARLIE MCDOWELL AND PRODUCED BY THE DUPLASS BROTHERS FILM HAS BEEN THE TALK UP AND DOWN MAIN STREET SINCE ITS WORLD PREMIERE

(Park City, UTAH) January 23, 2014 – RADiUS-TWC is proud to announce it has acquired worldwide rights to the romantic comedy THE ONE I LOVE starring Mark Duplass, Elisabeth Moss and Ted Danson.

Directed by Charlie McDowell in his feature film debut, THE ONE I LOVE has been the talk of Sundance since its world premiere on Tuesday night.  The film was produced by the Duplass Brothers.

RADiUS has slated a fourth quarter 2014 release.

THE ONE I LOVE centers on Ethan (Duplass) and Sophie (Moss), a married couple on the brink of separation. At the urging of their therapist (Danson), they escape to a beautiful vacation house for a weekend getaway in an attempt to salvage what’s left of their relationship. What starts off as a relaxing and tranquil retreat soon spirals into a dizzyingly bizarre experience that forces the couple to reflect upon the complexities of their troubled partnership. Over the course of a few days, Ethan and Sophie work diligently to rediscover their better selves and embrace the unexpected as everything they once thought was real becomes more and more surreal.

 

THE ONE I LOVE was written by Justin Lader and produced by Mel Eslyn.  The film was executive produced by Mark Duplass, Jay Duplass, Charlie McDowell and Lader.

 

According to RADiUS co-presidents Tom Quinn and Jason Janego: “We were immediately taken by this love story and completely enraptured by Mark and Elisabeth’s extraordinary performances. Films like THE ONE I LOVE do not come around often and we look forward to giving audiences everywhere the opportunity to discover this special gem.”

 

McDowell said: “On behalf of our entire team, it’s an honor to be partnering with Tom, Jason and the entire RADiUS and Weinstein family.   Their intense passion for the film has been overwhelming and we can’t wait to collaborate on the upcoming theatrical release.”

Mark Duplass added:  “I couldn’t be more psyched to be in business with Tom and Jason from RADiUS.   They are true pioneers in the new ways we are seeing movies and we look forward to surprising audiences with this unique film.”

Quinn, Janego and Jason Wald, Manager of Acquisitions, negotiated the deal with Submarine and ICM Partners.   ICM Partners represents McDowell, Mark & Jay Duplass and Justin Lader.

ABOUT RADiUS-TWC

RADiUS-TWC is the boutique label from the Weinstein Company (TWC) and the first studio division dedicated to both multi-platform VOD and theatrical distribution. Utilizing both traditional and digital media, RADiUS-TWC brings the highest quality films and other specialty entertainment to a wider audience than ever before. Founded and led by Tom Quinn and Jason Janego, the label continues to develop innovative distribution strategies to make marquee content available to consumers where, when and how they want it. The label’s inaugural slate included such films as BACHELORETTE (the first multi-platform film to hit #1 on iTunes and the only multi-platform release to ever reach #4 for top Cable VOD performers) and Cannes competition entry ONLY GOD FORGIVES directed by Nicolas Winding Refn and starring Ryan Gosling and Kristen Scott Thomas. Recent releases include: Morgan Neville’s Oscar nominated 20 FEET FROM STARDOM; Rob Epstein and Jeffrey Friedman’s LOVELACE; Zachary Heinzerling’s Oscar nominated CUTIE AND THE BOXER (Sundance U.S. Documentary Directing Award), Jacob Kornbluth’s INEQUALITY FOR ALL (Sundance U.S. Documentary Special Jury Award); Jonathan Levine’s long awaited horror debut ALL THE BOYS LOVE MANDY LANE; Stacie Passon’s CONCUSSION and Keanu Reeves’ directorial debut – MAN OF TAI CHI in which he also stars. In 2014, RADiUS’ slate features (among others): BLUE RUIN (winner of the FIPRESCI International Critics Prize at the Cannes Film Festival), Errol Morris’ THE UNKNOWN KNOWN, Mike Myers’ directorial debut – SUPERMENSCH: THE LEGEND OF SHEP GORDON and Alexandre Aja’s HORNS starring Daniel Radcliffe both of which premiered at the Toronto Film Festival this year.

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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