By Ray Pride Pride@moviecitynews.com

Christopher Plummer will star in Atom Egoyan’s “REMEMBER”

Director Atom Egoyan and Producer Robert Lantos reteam for this this emotionally charged contemporary thriller

FOR IMMEDIATE RELEASE  – “Remember” is produced by Ari Lantos (producer of “Stage Fright,” “The Right Kind of Wrong”) and Robert Lantos (Producer of Academy Award® and Golden Globe Nominated “Barney’s Version,” “Eastern Promises”).  Academy Award® Nominated and Cannes Grand Prix Winner Atom Egoyan (“The Captive,” “The Sweet Hereafter”) will direct.  This is Robert Lantos and Egoyan’s 8th collaboration, their previous films include “Where The Truth Lies,”  “Ararat”  and  “The Sweet Hereafter.”  Executive Producers are Mark Musselman ( “Barney’s Version,” “Being Julia”) and Anant Singh (“Mandela, Long Walk to Freedom,” “Yesterday”). “Remember” is an original screenplay written by Benjamin August. Principal photography starts on July 14th on location in Toronto.

Academy Award® Winner Christopher Plummer (“Girl with the Dragoon Tattoo,” “Beginners,”), is set to star in the leading role. Plummer will be supported by Academy Award® Winner Martin Landau (“Ed Wood,” “Crimes and Misdemeanors”), Dean Norris (“Breaking Bad”), Bruno Ganz, (“Downfall”), Heinz Lieven, (“This Must Be The Place”) and Günter Lamprecht (“Das Boot”).

“Remember” is a unique and compelling thriller in which the darkest chapter of modern history collides with a contemporary mission of revenge.

“I am looking forward immensely to be working once again with Atom Egoyan and Robert Lantos – this time, on a story which promises to be at once shocking, arresting and powerful beyond measure,” said Christopher Plummer

“I’m very excited to work with Robert on our eighth project together. Ben August has written a complex and riveting story told with great emotional clarity.  Christopher Plummer is one of the finest actors in the world, and this will be a crowning performance,” said Atom Egoyan.

“I am looking forward to working with Atom again on this remarkable story. Our collaboration over the past 25 years has been one of the most rewarding creative partnerships of my career,”  said producer Robert Lantos.

“I am delighted that we are able to collaborate with two long-time friends Stuart Ford and Robert Lantos on ‘Remember,'” said Executive Producer Anant Singh.  “Atom Egoyan is a Director that I have long admired and also distributed his films in South Africa and I am thrilled that he is helming this exceptional project,” he added.

Director Atom Egoyan has won prestigious international awards including the Grand Prix, The International Critics Prize and Ecumenical Prize at the Cannes Film Festival for “The Sweet Hereafter” for which he also received two Academy Award® nominations for Best Director and Best Adapted Screenplay. Previously in Cannes,  Egoyan won The International Critics Prize for “Exotica” and later the Ecumenical Prize for “Adoration.”

“Remember” is produced by Serendipity Point Films in association with Distant Horizon, Detalle, Telefilm Canada and Egoli Tossell. Other executive producers include: Moises Cosio, Jeff Sagansky, Mike Porter, Larry Guterman and D. Matt Geller.  Jens Meurer will coproduce.

“Remember” will be distributed by Entertainment One in Canada, ARP in France and Videovision Entertainment in South Africa.

Leading film financing, sales and distribution company IM Global will handle international sales excluding North America and will be launching sales on the film in Cannes.

“We were blown away by Benjamin August’s taut, twisting screenplay. We think ‘Remember’ will mark another critical and commercial high-point in Atom Egoyan’s storied career and we’re confident that distributors are going to respond well to the package in Cannes,” said Stuart Ford, CEO,  IM Global.

Serendipity Point Films credits include Academy Award® Nominated and Golden Globe Winners “Barney’s Version,” “Eastern Promises,” “Being Julia” and “Sunshine.” For more information, please visit  www.serendipitypoint.com

Egoli Tossell Film is a Berlin-based independent production company founded in 2001 by producers Jens Meurer and Judy Tossell. Recent productions include John Baird’s “Filth” starring James McAvoy and Ron Howard’s “Rush.” Upcoming releases include Peter Chelsom’s “Hector & The Search for Happiness” starring Simon Pegg and the action adventure film “Big Game” starring Samuel L. Jackson.

 

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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