By Ray Pride Pride@moviecitynews.com

Sony Classics Picks Cannes Competition’s Toni Erdmann

Posted Sunday, May 15th, 2016 - Comments Off on Sony Classics Picks Cannes Competition’s Toni Erdmann
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NEW YORK (May 15, 2016) – Sony Pictures Classics announced today that they have acquired all rights in North America and Latin America to TONI ERDMANN. The German film, written and directed by Maren Ade, screened “In Competition” yesterday at this year’s Cannes Film Festival to great critical acclaim.

The film stars Peter Simonischek and Sandra Hüller and is produced by Ade, Jonas Dornbach, Janine Jackowski, Michel Merkt, co-produced by Bruno Wagner, Antonin Svoboda, David Keitsch, Sebastian Schipper, and executive produced by Ada Solomon.

In TONI ERDMANN, practical joker Winfried (Simonischek) disguises himself as flashy “Toni Erdmann” to get busy Ines’ (Hüller) attention and change her corporate lifestyle. The father-daughter challenge reaches absurd proportions until Ines begins to see that her eccentric father deserves a place in her life.

“Sony Pictures Classics’ list of films and directors is so impressive. It’s a great honour that TONI ERDMANN is the newest addition to their slate, and I am looking forward to this experience,” said director Maren Ade.

“We are happy to partner again with SPC, who share our enthusiasm for the new film of Maren Ade. This exceptional director will fascinate international audiences, like she has already proven with her fulminant premiere in Cannes Competition. I am convinced that Michael, Tom and Dylan will make this film an outstanding success as they have done in the past with films like Waltz with Bashir, Fill the Void and The Lunchbox,” added Michael Weber, Managing Director of The Match Factory.

“One of the freshest films in years; profound, funny, powerful. TONI ERDMANN establishes director Maren Ade as a force to be reckoned with, one of the world’s truly great directors. It’s great to be back in business with The Match Factory again,” stated Sony Pictures Classics.

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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