By Ray Pride Pride@moviecitynews.com

Sony Pictures Classics Acquires Cinelou’s Robert De Niro Project, “The Comedian”

 

NEW YORK (October 5, 2016) – Sony Pictures Classics announced today that they have acquired North American rights to Academy Award® winner Taylor Hackford’s comedy, THE COMEDIAN.  Written by Art Linson, THE COMEDIAN stars Academy Award® winner Robert De Niro, Leslie Mann, Edie Falco, Harvey Keitel, Danny DeVito, Patti LuPone and Veronica Ferres. The film will have an awards qualifying run in 2016 and open officially in 2017.

THE COMEDIAN is produced by Hackford, Cinelou’s Mark Canton and Courtney Solomon, as well as Linson Entertainment’s Art Linson and John Linson. The film is executive produced by Cinelou’s Scott

Karol, the Fyzz Facility’s Wayne Marc Godfrey and Robert Jones, Mad Riot Entertainment’s Mark Axelowitz and Lawrence Smith, as well as Iain Abrahams, Peter Sobiloff, Dennis Pelino and Fredy Bush.

 

An aging comic icon, Jackie (Robert De Niro) has seen better days.  Despite his efforts to reinvent himself and his comic genius, the audience only wants to know him as the former television character he once played.  Already a strain on his younger brother (Danny DeVito) and his wife (Patti LuPone), Jackie is forced to serve out a sentence doing community service for accosting an audience member. While there, he meets Harmony (Leslie Mann), the daughter of a sleazy Florida real estate mogul (Harvey Keitel), and the two find inspiration in one another resulting in surprising consequences.

 

“Robert De Niro is at his very best in THE COMEDIAN. Leslie Mann is a revelation. A rich supporting cast including Danny DeVito, Edie Falco, Patti LuPone, Cloris Leachman, and Harvey Keitel really delivers. Taylor Hackford is the accomplished ringmaster. It will be a pleasure bringing this satisfying movie to American audiences. It is great to be in business with our friends Art Linson, Courtney Solomon and Mark Canton,” said Sony Pictures Classics.

 

“Being invited by Bob De Niro and Art Linson to join them in actualizing their long-gestating passion project was an opportunity I couldn’t refuse,” said director Taylor Hackford. “Passion was the key word for everyone on this film — with De Niro in the lead, and Mark Canton and Courtney Solomon’s Cinelou making it happen.”

 

Cinelou’s Canton stated, “Robert De Niro has been nurturing this story for years, so we’re incredibly honored to have been able to help bring it to life.  Sony Classics is tailor-made to release the film, as Michael Barker and Tom Bernard have the perfect sensibility for it.”

 

“There’s amazing chemistry between Bob and Leslie. There are plenty of laugh-out-loud moments, but both of these actors have a talent for injecting drama into all the right places creating a great balance between the humor and drama,” added Solomon.

 

Warner Bros. International will be handling foreign distribution, under its deal with Cinelou.

 

 

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.  Barker and Bernard have released prestigious films that have won 32 Academy Awards® (28 of those at Sony Pictures Classics) and have garnered 159 Academy Award® nominations (133 at Sony Pictures Classics) including Best Picture nominations for WHIPLASH, AMOURMIDNIGHT IN PARIS, AN EDUCATIONCAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

 

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 142 countries. For additional information, go to http://www.sonypictures.com/.

 

ABOUT CINELOU FILMS

Cinelou Films is a full-service film development, financing and production company based in Los Angeles, CA. Cinelou’s emphasis is on producing prestigious, critically acclaimed movies driven by auteur directors and powerful, moving performances. As co-CEOs of Cinelou, Courtney Solomon and Mark Canton are able to tap into their wealth of resources from over 30 years experience in the film industry to bring relatable, entertaining and high-caliber scripts to life.

 

With the launch of its distribution arm, Cinelou Releasing, Cinelou has established a platform by which important, independent films can be delivered to audiences. Recognizing the void left by the current major studio distribution model, Solomon and Canton have created Cinelou Releasing to give a voice to independent filmmakers while allowing them to retain control over the marketing and distribution of their films. Cinelou Releasing plans to release four films per year comprising both Cinelou titles and bold acquisitions that don’t typically fit into the traditional studio model.

 

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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