By Ray Pride Pride@moviecitynews.com

BROAD GREEN PICTURES ANNOUNCES INAUGURAL 2015 SLATE

Posted Tuesday, April 14th, 2015 - Comments Off on BROAD GREEN PICTURES ANNOUNCES INAUGURAL 2015 SLATE
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Studio Also Launches Official Logo as well as Acquisition of The Dark Horse

 

LOS ANGELES, CA (April 8, 2015) – Broad Green Pictures (BGP) announced today their inaugural 2015 theatrical slate.

 

EDEN:  Director Mia Hansen-Løve’s affecting trip into the 90s Parisian electronic dance movement experienced through the eyes of DJ groups Cheers and Daft Punk who, together with their friends, plunge into the ephemeral nightlife of sex, drugs, and endless music.Release Date: June 19

 

10,000KM:   One couple, one year apart and two distant cities: Los Angeles and Barcelona.  From award-winning director Carlos Marques-Marcet, comes a love story about the challenges of a long distance relationship and the role of technology in fighting to keep a romance alive. Release Date: July 10

 

LEARNING TO DRIVE: Academy Award nominee Patricia Clarkson and Academy Award winner Ben Kingsley star in this feel-good comedy about two seeming opposites at a crossroads.Release Date: August 21

 

A WALK IN THE WOODS: In this acclaimed comedy adventure, Robert Redford and Nick Nolte star as two old friends who instead of settling into their sunset years, decide to hike the 2,000 plus miles of the Appalachian Trail. Based on the best-selling memoir of celebrated travel humorist Bill Bryson and directed by Ken Kwapis, the film co-stars Emma Thompson, Mary Steenburgen, Nick Offerman and Kristen Schaal. Release Date: September 2

 

BREAK POINT:  Two estranged brothers (Jeremy Sisto and David Walton) reunite to make an improbable run at a grand slam tennis tournament.  The comedy also stars J.K Simmons, Amy Smart, Joshua Rush and Adam Devine. Release Date: September 4

 

99 HOMES: In this timely thriller, when single father Dennis Nash (Golden Globe nominee Andrew Garfield) is evicted from his home, his only chance to win it back is to work for Rick Carver (Academy Award nominee Michael Shannon), the ruthless businessman who evicted him in the first place. It’s a deal-with-the-devil that may save his family home; but as Nash falls deeper into Carver’s web, he finds his situation grows more brutal and dangerous than he ever imagined. Release Date: September 25

 

Additional upcoming releases include the soon-to-be-dated SAMBA, three films from director Terrence Malick (KNIGHT OF CUPS, VOYAGE OF TIME and an as-yet-untitled project starring Ryan Gosling, Rooney Mara and Michael Fassbender), and the Sarah Silverman breakout I SMILE BACK, which premiered in the U.S. Dramatic Competition at this year’s Sundance Film Festival.

 

BGP has also closed a deal for US rights on James Napier Robertson’s THE DARK HORSE with Seville Pictures International, which will be joining the upcoming slate.  The film is an inspiring and emotionally-charged true story based on the life of charismatic and brilliant chess champion, Genesis Potini. Despite his own struggles, he found the courage to lead and discovered his purpose of passing his gift on to the children of his community.

 

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About Broad Green Pictures
Broad Green Pictures (BGP) is a feature film production and distribution company founded by Gabriel and Daniel Hammond in 2014. The new studio provides filmmakers with unparalleled development support, production infrastructure, and marketing resources to execute their vision from script to screen. Through collaborative partnerships with both rising talent and established filmmakers, BGP shares incredible stories with the widest possible audiences, pushing boundaries and taking creative risks. BGP’s upcoming slate includes the critically acclaimed WALK IN THE WOODS, 99 HOMES, and LEARNING TO DRIVE, as well as Terrence Malick’s KNIGHT OF CUPS, VOYAGE OF TIME, and his untitled project starring Ryan Gosling and Michael Fassbender.

 

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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