By Ray Pride Pride@moviecitynews.com

Bigelow-Boal Set Untitled 1967 Detroit Riot Crime Drama With Annapurna

KATHRYN BIGELOW TO DIRECT ORIGINAL SCREENPLAY WRITTEN BY MARK BOAL. OSCAR-WINNING DUO TO PRODUCE “UNTITLED DETROIT PROJECT” WITH ANNAPURNA PICTURES’ MEGAN ELLISON AND MATTHEW BUDMAN

True Crime Drama To Begin Casting In the Next Two Months

LOS ANGELES, CA, JANUARY 28, 2016–Kathryn Bigelow will direct, as well as produce with Mark Boal and Annapurna’s Megan Ellison and Matthew Budman an as yet untitled true crime drama from an original screenplay by Mark Boal.

The feature, Oscar winning director Bigelow’s tenth as a director, is her, and her frequent collaborator Boal’s next up. Referred to at the moment as the “Untitled Detroit Project,” it is being financed by Annapurna Pictures, and is set to begin principal photography this summer.

Although details about the Detroit project are not being revealed at this time, it is a crime drama set against the backdrop of Detroit’s devastating riots that took place over five haunting summer days in 1967. Boal has been researching and working on the project, which explores systemic racism in urban Detroit, for more than a year. Although no studio is yet attached, a release date is being targeted for 2017, the 50th anniversary of the riots.

The project marks Boal’s first screenplay centering around domestic conflicts. His “The Hurt Locker” and “Zero Dark Thirty,” both directed by Bigelow, were set in the Middle East.

Bigelow is a two time Oscar winner for producing and directing “The Hurt Locker.” Boal is a two time Oscar winner for producing and writing “The Hurt Locker.”  Bigelow, Boal and Ellison’s previous collaboration, “Zero Dark Thirty,” received five Oscar nominations including best picture and best screenplay.

ABOUT ANNAPURNA PICTURES

Annapurna Pictures is a film production and finance company founded by Megan Ellison that focuses on creating sophisticated, high-quality content which sets itself apart. Ellison successfully upholds the company’s vision to produce critically and commercially conscious projects which appeal to a diverse audience, allowing filmmakers and artists to create story content of all genres and mediums while preserving their authenticity. Annapurna’s most recent project, David O. Russell’s JOY, was released through 20th Century Fox and earned a Best Actress Oscar nomination for star Jennifer Lawrence. Additionally, Annapurna is releasing Todd Solondz’s WIENER-DOG, which was recently sold to Amazon Studios for a theatrical release after premiering at this year’s Sundance Film Festival, and Richard Linklater’s EVERYBODY WANTS SOME, which will be released in April through Paramount Pictures, after premiering at SXSW in Austin. Annapurna is currently in post-production on Ana Lily Amirpour’s THE BAD BATCH; Greg Tiernan and Conrad Vernon’s animated SAUSAGE PARTY written by Seth Rogen, Evan Goldberg, Kyle Hunter and Ariel Shaffir; and Mike Mills’ 20TH CENTURY WOMEN.  Annapurna is also currently in pre-production for the film adaptation of Maria Semple’s WHERE’D YOU GO, BERNADETTE, to be directed by Richard Linklater. Annapurna’s projects since 2012 have earned thirty-one Academy Award nominations, and Ellison is one of only four honorees ever to receive two Best Picture nominations in the same year. Those projects include Kathryn Bigelow’s ZERO DARK THIRTY, Bennett Miller’s FOXCATCHER, David O. Russell’s AMERICAN HUSTLE, Spike Jonze’s HER, Wong Kar Wai’s THE GRANDMASTER, and Paul Thomas Anderson’s THE MASTER. Additionally, Annapurna is partners with Mark Boal on the company Page One, where they produce season two of the hit podcast SERIAL. Bigelow also directed and partnered with Annapurna on the animated short LAST DAYS, about illegal elephant poaching and the ivory trade.

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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

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~ David Simon