By Ray Pride Pride@moviecitynews.com

ALL STAR CAST ANNOUNCED ON SHANE CARRUTH’S HIGHLY ANTICIPATED UPCOMING FEATURE: THE MODERN OCEAN

Posted Tuesday, November 3rd, 2015 - Comments Off on ALL STAR CAST ANNOUNCED ON SHANE CARRUTH’S HIGHLY ANTICIPATED UPCOMING FEATURE: THE MODERN OCEAN
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Starring: Anne Hathaway, Keanu Reeves, Daniel Radcliffe, Chloë Grace Moretz, Tom Holland, Asa Butterfield, Abraham Attah, Jeff Goldblum

LOS ANGELES- (Nov 3, 2015) Casting was announced today on Shane Carruth’s highly anticipated third feature, THE MODERN OCEAN starring Anne Hathaway, Keanu Reeves, Daniel Radcliffe, Chloë Grace Moretz  (IF I STAY, THE EQUALIZER, KICK ASS 2), Tom Holland (SPIDERMAN, IN THE HEART OF THE SEA), Asa Butterfield (HUGO,ENDER’S GAME),Abraham Attah (BEASTS OF NO NATION), and Jeff Goldblum (THE GRAND BUDAPEST HOTEL).

The film, in which Carruth also stars, is being produced by Blackbird’s Lawrence Inglee (THE DAY AFTER TOMORROW), Carruth’s erbp Film (UPSTREAM COLOR, PRIMER), and Tadmor’s Eyal Rimmon (AMERICAN ULTRA). Casting is being handled by Carmen Cuba Casting.

FilmNation Entertainment will launch international sales on the film at the 2015 AFM in Santa Monica this week.

Shane Carruth, whose previous two films: UPSTREAM COLOR (winner of the 2013 Special Jury Prize at Sundance) and PRIMER (winner of the 2004 Sundance Grand Jury Prize and the Alfred P. Sloan Prize) received widespread critical acclaim, has been hailed as one of the most exciting and original voices in modern American cinema.

In THE MODERN OCEAN, the competition for valuable shipping routes, the search for the hidden cache of priceless material and the powerful need for vengeance will converge in a spectacular battle on the rolling decks of behemoth cargo ships. This epic tale, fraught with danger and intrigue, takes us from the ancient trading houses of Algeria to the darkest depths of the ocean floor.
Enormously inventive, but grounded in arcane reality, THE MODERN OCEAN will draw audiences in to a secretive world filled with mysterious technologies and bitter rivalries.

Tara Erer, SVP, Sales for FilmNation stated:  “We couldn’t be more excited to be working with Shane on this project. He is clearly one of the most exciting and inventive filmmakers working today. He has created a world in MODERN OCEAN, which will excite and captivate audiences everywhere.”

ABOUT FILMNATION ENTERTAINMENT 


FilmNation Entertainment is a leading distributor, financier and producer of independent films and is a destination for many of the world’s most renowned filmmakers including Steven Soderbergh, Terrence Malick, Pedro Almodóvar, Woody Allen, Jonathan Glazer, Sofia Coppola, Jeff Nichols, J.C. Chandor, Rian Johnson, Anton Corbijn, Morten Tyldum, Lenny Abrahamson, Denis Villeneuve, and John Lee Hancock amongst many others.  Since being founded in 2008 by veteran film executive Glen Basner, FilmNation has established itself as a home for specialty filmmaking with global appeal by focusing on a highly selective group of filmmakers and projects that emphasize both creative integrity and commercial potential. FilmNation is consistently ranked as one of the highest-grossing independent international film distributors, has become a prolific and respected producer, and its titles are amongst the most critically lauded in the film industry.

FilmNation produced two films in 2015 including Denis Villeneuve’s STORY OF YOUR LIFE starring Amy Adams and John Lee Hancock’s THE FOUNDER to star Michael Keaton- both to release in 2016. The company is in development on THE GOOD HOUSE to star Meryl Streep and Robert De Niro; among others.

FilmNation’s previous and upcoming sales line-up showcases the work of many of today’s most exciting, established and up-and-coming filmmakers including: Academy Award winning THE IMITATION GAME starring Benedict Cumberbatch and Keira Knightley; Woody Allen’s IRRATIONAL MAN; Academy Award Best Picture winner THE KING’S SPEECH; Alexander Payne’s NEBRASKA; MR. HOLMES starring Ian McKellen; Terrence Malick’s KNIGHT OF CUPS starring Christian Bale and Natalie Portman; GENIUS starring Colin Firth, Jude Law and Nicole Kidman; Pedro Almodóvar’s THE SKIN I LIVE IN, LOS AMANTES PASAJEROS and SILENCIO; among many others.

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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