By Ray Pride Pride@moviecitynews.com

TRIBECA FILM SETS RELEASE DATE FOR GIA COPPOLA’S DIRECTORIAL DEBUT, PALO ALTO, BASED ON JAMES FRANCO’S SHORT STORY COLLECTION

Posted Monday, February 3rd, 2014 - Comments Off on TRIBECA FILM SETS RELEASE DATE FOR GIA COPPOLA’S DIRECTORIAL DEBUT, PALO ALTO, BASED ON JAMES FRANCO’S SHORT STORY COLLECTION
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May 9 theatrical release set for provocative drama starring Emma Roberts, Jack Kilmer, Nat Wolff, Zoe Levin, James Franco and Val Kilmer

New York, NY – February 3, 2014 – Tribeca Film announced today that Palo Alto, the acclaimed debut feature from writer/director Gia Coppola will open exclusively in theaters on Friday, May 9th in New York and Los Angeles.  A national release will follow.  Palo Alto screened last year in the Venice, Telluride and Toronto Film Festivals.  The film is a James Franco and Rabbit Bandini Productions presentation, produced by Sebastian Pardo, Adriana Rotaru, Miles Levy, and Vince Jolivette.  It is based on several linked stories in James Franco’s book of the same name, chronicling the complicated ties and heightened emotions among a group of high school students. It stars James Franco, Emma Roberts, Jack Kilmer, Nat Wolff, Zoe Levin, Chris Messina, and Val Kilmer.  The film features music from Devonté Hynes of the band Blood Orange and Robert Coppola Schwartzman.

Shy, sensitive April (Emma Roberts) is the class virgin —a popular soccer player and frequent babysitter for her single-dad coach, Mr. B. (James Franco). Teddy (Jack Kilmer) is an introspective artist whose best friend and sidekick Fred (Nat Wolff) is an unpredictable live wire with few filters or boundaries. While April negotiates a dangerous affair with Mr. B., and Teddy performs community service for a DUI — secretly carrying a torch for April, who may or may not share his affection — Fred seduces Emily (Zoe Levin), a promiscuous loner who seeks validation through sexual encounters. One high school party bleeds into another as April and Teddy finally acknowledge their mutual affection, and Fred’s escalating recklessness spirals into chaos.

 

About Tribeca Film

Tribeca Film is a comprehensive distribution label dedicated to acquiring and releasing independent films across multiple platforms, including theatrical, video-on-demand, digital, home video and television. It is an initiative from Tribeca Enterprises designed to provide new platforms for how film can be experienced, while supporting filmmakers and introducing audiences to films they might not otherwise see. Current and upcoming Tribeca Film releases include the Oscar® nominated and award-winning The Broken Circle Breakdown, Gotham award winner Beneath the Harvest Sky directed by Aron Gaudet and Gita Pullapilly, Gia Coppola’s Palo Alto, and David MacKenzie’s Starred Up.

 

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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