By Ray Pride Pride@moviecitynews.com

Saban Films Takes North America For Tommy Lee Jones’ Manifest Destiny Western

SABAN FILMS ACQUIRES NORTH AMERICAN RIGHTS TO ACADEMY AWARD® WINNER TOMMY LEE JONES’ “THE HOMESMAN”

 

New Banner Aggressively Sweeps Up Rights to Buzz-Worthy

Cannes Competition Title to Mark First Acquisition

 

CANNES – May 22, 2014 – Haim Saban announced today that after launching Saban Films last week the company has acquired North American distribution rights to Academy Award® winner Tommy Lee Jones’ THE HOMESMAN, starring Jones and Academy Award® winner Hilary Swank, with a supporting cast featuring Grace Gummer, Miranda Otto, Sonja Richter, Academy Award® nominee Hailee Steinfeld, James Spader and Academy Award® winner Meryl Streep.

 

The new venture, which is headed by President Bill Bromiley, came to Cannes with an aggressive acquisitions strategy and targeted the highly-regarded competition title, finalizing negotiations with majority owner of the North American rights, Brian Kennedy. EuropaCorp is the international distributor of the picture. This is the first acquisition for Saban Films and the second collaboration between Bromiley, Tommy Lee Jones and Michael Fitzgerald following 2008’s In the Electric Mist.

 

THE HOMESMAN, which premiered Sunday, May 18th in competition in Cannes, is a Tommy Lee Jones/Michael Fitzgerald production, directed by Tommy Lee Jones and produced by Peter Brant, Brian Kennedy and Luc Besson. The screenplay was written by Jones, Kieran Fitzgerald and Wesley A. Oliver, based on the novel by Glendon Swarthout.

 

Saban Films is planning a 2014 theatrical release.

Haim Saban said: “We are honored to have such a prestigious and beautifully crafted film as the first project to launch Saban Films.” Adam Chesnoff, President and COO of Saban Capital Group continued: “THE HOMESMAN is the perfect example of the quality, high-caliber slate of projects we aim to build.”

 

Tommy Lee Jones said: “I am delighted that Saban Films has chosen ‘The Homesman’ to begin their venture into film release.  Our company has full confidence in Saban Films and I sincerely hope we will serve them well.”

 

Bromiley adds: “We are really looking forward to working with Michael and Tommy once again and developing a creative and dynamic release campaign to bring this extraordinary movie to US and Canadian audiences.”

 

Representing the film in the sale to Saban Films was CAA and Scott Edel of Loeb & Loeb. Bill Bromiley, Ness Saban and Niveen Tadros, EVP & General Counsel, negotiated the acquisition on behalf of Saban Films.

 

Saban Films

Saban Films, an affiliate of Saban Capital Group, is a film acquisition and distribution company which acquires high-quality, feature films to distribute in North America.  Focusing on commercial, talent driven films, the company looks at projects in all stages of production for release across multiple platforms, including a day and date theatrical/VOD release strategy. Based in Los Angeles, Saban Films was established by Haim Saban, and is led by Bill Bromiley who serves as president, Shanan Becker, Chief Financial Officer and Ness Saban, Director of Business Development.

 

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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.”
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