By Ray Pride Pride@moviecitynews.com

Charlie Sheen Goes Crackle

Posted Wednesday, September 21st, 2016 - Comments Off on Charlie Sheen Goes Crackle
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CHARLIE SHEEN IN A FAMILY WAY FOR CRACKLE ORIGINAL FILM, MAD FAMILIES

Sheen to Star and Executive Produce in Comedy Written by

Fred Wolf & David Spade

Leah Remini, Finesse Mitchell and Naya Rivera Also Star

CULVER CITY, Calif. (September 20, 2016) – Crackle, Sony’s streaming network, today announced that Charlie Sheen has signed on to star and executive produce the network’s original movie, Mad Families, which began production in Los Angeles last week. Sheen stars as Charlie Jones, a loveable man-child with a heart of gold and a unique way of looking at the world, in the multi-generational comedy being directed and produced by Fred Wolf (Drunk Parents, Joe Dirt 2: Beautiful Loser) from a script by Wolf & David Spade. Sheen worked with Wolf to develop his role after signing onto the project, and was represented by APA, which helped to package the deal.  Anne Clements also serves as producer on the project.

Mad Families centers on three families – one Hispanic, one African American, one Caucasian – who find themselves sharing the same camping space on a Fourth of July holiday weekend. When none of them volunteer to vacate the site, they try to figure out a way to cohabitate peacefully, but eventually decide on a series of competitions to determine a winner. As the families face off in a series of hysterical contests, the brassy, biting Charlie quips and complains his way through the great outdoors, but ultimately, with the help of his fellow campers, ends up realizing what’s most important in life.

The project marks the second outing between Crackle and Wolf, who wrote (with David Spade) and directed, Joe Dirt 2: Beautiful Loser for the network. The film, which starred Spade, was the first ever digital sequel to a major motion picture and went on to garner more than 2 million views in the first two and a half weeks of streaming on the network.

“It’s great to be back in business with Fred, and to have Charlie on board. The combination of Fred’s unique comedic voice and Charlie’s sharp wit and gift for physical humor is sure to be ‘winning,’” said Eric Berger, Executive Vice President, Digital Networks, Sony Pictures Television and General Manager, Crackle. “Original movies are a key component of our ongoing programming strategy and Mad Families is a great fit for our viewers.”

Also starring in the film are Leah Remini (“King of Queens,” “The Talk”)  as Charlie’s step-mother, Cheyenne, along with Finesse Mitchell (“Roadies,” “Brother’s in Atlanta”), Juan Gabriel Pareja (“Goliath”), Charlotte McKinney (“Joe Dirt 2: Beautiful Loser”), Naya Rivera(“Glee,” “Devious Maids”), Chris Mulkey (Whiplash, “CSI: Cyber”), Clint Howard (“Arrested Development,” “Key & Peele”), Chanel Iman (Dope), Barry Shabaka Henley (“Brother’s in Atlanta,” “Better Call Saul”), Lil Rel Howery (“The Carmichael Show,”), Tiffany Haddish(“The Carmichael Show”), Efren Ramirez (“Eastbound and Down,” Napoleon Dynamite) andDanny Mora (“Chop Shop,” McFarland, USA).

Mad Families builds on Crackle’s growing slate of scripted original programing, including the original movies Joe Dirt 2: Beautiul Loser, the first ever digital sequel to a major motion picture, starring David Spade, and Dead Rising: Watchtower starring Jesse Metcalfe, Virginia Madsen and Rob Riggle. Original dramas include “StartUp,” starring Martin Freeman, Adam Brody, Edi Gathegi and Otmara Marrero; “The Art of More,” starring Dennis Quaid, Kate Bosworth, Christian Cooke and Cary Elwes, which returns for its second season on November 16th; and the upcoming “Snatch,” based on the iconic British film and starring Rupert Grint, Dougray Scott, Luke Pasqualino and Lucien Laviscount. Other programming on the streaming network includes the stop-motion animated comedy series “SuperMansion,” with Bryan Cranston, Seth Green, Keegan-Michael Key, Chris Pine and Jillian Bell, which Key and Pine recently received Emmy® nominations for in the Character Voice-Over Performance category; Crackle’s weekly live game show series “Sports Jeopardy!” with Emmy® award-winning sportscaster Dan Patrick; and its flagship award-winning series “Comedians in Cars Getting Coffee” with Jerry Seinfeld, which recently wrapped up its eighth season and received an Emmy® nomination this year for Outstanding Variety Talk Series, marking the first-ever digital series nomination in this category and the first time the show was nominated outside the short-form category.

About Crackle

Crackle, a unit of Sony Pictures Television, programs movies, popular TV shows, original series and feature films for the worlds connected audience.  Available in 21 countries on every screen, Crackle is always freely accessible with no subscription required.  The streaming TV network houses a robust library of original programming available anytime, anywhere on every connected device. Follow @Crackle on twitter for real time updates.  For additional information, please go to www.crackle.com

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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