By Ray Pride Pride@moviecitynews.com

Open Road Films Partners On Upcoming Productions

Posted Thursday, January 28th, 2016 - Comments Off on Open Road Films Partners On Upcoming Productions
Be Sociable, Share!

OPEN ROAD FILMS PARTNERS WITH CRYSTAL CITY ENTERTAINMENT AND BOUNDARY STONE FILMS FOR MULTI-YEAR DEVELOPMENT FINANCING DEAL

 
Los Angeles, CA – January 28, 2015 – Open Road Films and Crystal City Entertainment/Boundary Stone Films today announced a multi-picture development financing pact for all of Open Road Films’ own productions over the coming years. The announcement was made by Tom Ortenberg, CEO of Open Road Films, and Ari Daniel Pinchot, Jonathan Rubenstein, Mark Schacknies, and Khris Baxter, Managers of Crystal City Entertainment/Boundary Stone Films.
Two to four films a year are expected to be developed through the deal, with each film getting a wide domestic release via Open Road Films and foreign sales being handled by Open Road International and partner Film Nation. 
 
Ari Daniel Pinchot of Crystal City Entertainment/Boundary Stone Films stated, “Led by Tom Ortenberg, Open Road Films has a fantastic track record and a top notch team in motion picture marketing and distribution.  We are confident that backing their productions in the earliest stages is a smart investment for our companies.”
 
“We are delighted to be joining forces with the teams at Crystal City Entertainment/Boundary Stone Films,” added Tom Ortenberg, “Their development financing investment will lay a strong foundation for future projects.”
 
The deal was negotiated by Tom Ortenberg, CEO, and Elliott Kleinberg, Chief Operating Officer and General Counsel, on behalf of Open Road Films and by Managers Ari Daniel Pinchot for Crystal City Entertainment and Mark Schacknies for Boundary Stone Films.
Crystal City Entertainment/Boundary Stone Films have partnered on several projects and funds in the past few years.  They are partners on COACH WILLIE, written by Greg Allen Howard and produced by Gulfstream Pictures; VAN CLIBURN, produced by Temple Hill and starring Ansel Elgort; and in a slate of films with Cross Creek Pictures.  CCE’s past credits include: THE IDES OF MARCH and LEE DANIELS: THE BUTLER.  
 
ABOUT OPEN ROAD FILMS
Open Road Films is a leading, independent, theatrical motion picture company, releasing a diverse slate of star-driven films which has included multiple #1 releases. It was founded in 2011 by AMC Entertainment Inc. (AMC) and Regal Entertainment Group (Regal), the two largest theatrical exhibition companies in the United States. Open Road and its lenders recently extended the company’s $100,000,000 credit facility through 2018.
 
Past releases include: Nightcrawler, starring Jake Gyllenhaal, which took the #1 spot at the box-office during its opening week and received an Oscar® nomination for Best Original Screenplay, along with a Golden Globe nomination – it was named one of the best films of 2014 by the AFI and National Board of Review and top critics nationwide; the hit film Chef, written by, directed by and starring Jon Favreau along with Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Oliver Platt, Dustin Hoffman and Robert Downey, Jr.; The Nut Job, which opened to over $25 million at the box office as the highest ever opening for an independent animated film; The Grey, directed by Joe Carnahan and starring Liam Neeson, which opened #1 at the box office; End Of Watch, directed by David Ayer and starring Jake Gyllenhaal and Michael Peña, which opened #1 at the box office; Rosewater, written and directed by Jon Stewart; A Haunted House starring Marlon Wayans; and Side Effects, directed by Steven Soderbergh and starring Rooney Mara, Jude Law, Catherine Zeta-Jones and Channing Tatum.
 
Upcoming Open Road Films releases include the comedy Fifty Shades Of Black (1/29/16), starring Marlon Wayans; Triple 9, a thriller directed by John Hillcoat starring Chiwetel Ejiofor, Casey Affleck, Anthony Mackie, Woody Harrelson, Aaron Paul, Kate Winslet, Gal Gadot, Norman Reedus, Teresa Palmer and Clifton Collins, Jr. (2/26/16); the Garry Marshall-directed romantic-comedy Mother’s Day (4/29/16), starring Julia Roberts, Jennifer Aniston, Kate Hudson, and Jason Sudeikis; Snowden (5/13/16), written and directed by Oliver Stone starring Joseph Gordon-Levitt and Shailene Woodley; Sleepless Night, starring Jamie Foxx and Michelle Monaghan; Bleed For This, starring Miles Teller, Aaron Eckhart and Katey Sagal and directed by Ben Younger; andBlazing Samurai (4/14/2017), the animated family film featuring the voices of Samuel L. Jackson, Mel Brooks, Michael Cera, George Takei, Gabriel Iglesias, Aasif Mandvi, Djimon Hounsou, Michelle Yeoh and more.
Be Sociable, Share!

Posted in MCN Curated Headlines, Movie City News, Press Releases | Comments Off on Open Road Films Partners On Upcoming Productions

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