By Ray Pride Pride@moviecitynews.com

AMPLIFY AND WELL GO USA TEAM UP TO OPEN MINDS WITH TERRY GILLIAM’S THE ZERO THEOREM

Posted Wednesday, March 5th, 2014 - Comments Off on AMPLIFY AND WELL GO USA TEAM UP TO OPEN MINDS WITH TERRY GILLIAM’S THE ZERO THEOREM
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New York, NY  March 5, 2014 – Amplify and Well Go USA Entertainment have teamed up to acquire the U.S. rights to acclaimed director Terry Gilliam’s science-fiction opus, THE ZERO THEOREM.  The partners will release the film to theaters across the US in late summer, with a home video release to follow. Amplify will handle theatrical and digital distribution rights, with Well Go USA releasing the film on DVD and Blu-ray.

Directed by Gilliam (Brazil, Twelve Monkeys, Monty Python and the Holy Grail), THE ZERO THEOREM stars two-time Academy Award winner Christoph Waltz (Django Unchained, Inglorious Basterds) as Qohen Leth, an eccentric and reclusive computer genius plagued with existential angst.  Living in isolation in a burnt-out church, Qohen is obsessively working on a mysterious project personally delegated to him by Management (Matt Damon) aimed at discovering the meaning of life – or the lack thereof – once and for all.  Increasingly disturbed by unwanted visits from people he doesn’t fully trust, including the flirtatious Bainsley (Mélanie Thierry), Management’s wunderkind son Bob (Lucas Hedges), his unpredictable colleague Joby (David Thewlis), and would-be digital therapist Dr. Shrink-Rom (Tilda Swinton), it’s only when he experiences the power of love and desire that he’s able to understand his own reason for being.

“For all of us at Amplify and Well Go, it’s an absolute dream to have the chance to work with a visionary like Terry,” said Amplify’s Kent Sanderson. “As someone who wore out a VHS of Braziland saw Twelve Monkeys in theaters three times, I can say on the whole team’s behalf that we’re incredibly excited to share his new take on society gone awry with the widest possible audience.”

“THE ZERO THEOREM is a very unique film that I’m especially proud of, so it is a relief to be distributed by a company that is not afraid to push the boundaries,” said Terry Gilliam.

THE ZERO THEOREM was directed by Terry Gilliam from a script by Pat Rushin, and produced by Academy Award winner Nicolas Chartier and Dean Zanuck. The deal was orchestrated by Elisabeth Costa de Beauregard Rose of Voltage Pictures on behalf of the filmmakers, Sanderson, Dylan Marchetti, and Logan Mulvey on behalf of Amplify and Doris Pfardrescher on behalf of Well Go USA.

OFFICIAL SITE: thezerotheorem-movie.com

ABOUT AMPLIFY

Amplify is a bi-coastal all-rights distribution company that aims to bring the best in global independent film to theaters and beyond.  Formed in 2014 from a merger of innovative theatrical distributor Variance Films (Sound City, Red Hook Summer, Go For Sisters) and leading digital distributor GoDigital, Amplify uses cutting edge marketing and distribution techniques with a focus on working directly with filmmakers to craft hand-tailored release campaigns for each film.  Led by an executive team comprised of GoDigital’s Logan Mulvey, Variance Films’ Dylan Marchetti, and former Focus Features executive Kent Sanderson, Amplify is financed by Preferred Ventures.  Upcoming releases from Amplify include Stuart Murdoch’s musical God Help The Girl.

ABOUT WELL GO USA

Well Go USA Entertainment (www.wellgousa.com) is a theatrical and home entertainment distribution label that specializes in bringing top content, including the best in genre and Asian cinema, to North America and Asia. As a leader in independent film distribution, Well Go’s titles can be seen across a variety of formats and platforms, including theatrical, video-on-demand, digital, packaged media and broadcast television. Since 1994, Well Go has acquired and released over 2,000 titles worldwide and currently releases three to five films per month. Well Go USA Entertainment’s corporate headquarters are in Plano, TX with offices in Taiwan and China.

ABOUT VOLTAGE PICTURES

Founded in 2005, Voltage Pictures is an international sales, finance and production operation run by Academy Award winner Nicolas Chartier. In nine years, Voltage has built a library of over 175 films. Voltage’s first in house production was The Hurt Locker which went on to win six Oscars including Best Picture. The company has since produced a number of films, including The Company You Keep, directed by Robert Redford, starring Robert Redford and Shia LaBeouf and Don Jon, written and directed by Joseph Gordon-Levitt who also starred alongside Scarlett Johansson and Julianne Moore and had a wide release in the fall of 2013 by Relativity Media.

Voltage was recently up for six Academy Awards, including Best Picture, for Dallas Buyers Club. The film won three Oscars; Matthew McConaughey for Best Actor in a Lead Role, Jared Leto for Best Actor in a Supporting Role, and Best Hair/Makeup.

Voltage is currently in production on the Ethan Hawke film Good Kill, which also stars January Jones, Zoe Kravitz, Bruce Greenwood and Jake Abel. Production will soon begin on the Gabriele Muccino-helmed Fathers and Daughters, starring Russell Crowe, Amanda Seyfried, Aaron Paul, Quvenzhane Wallis, Octavia Spencer and Diane Kruger.

 

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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