By Ray Pride Pride@moviecitynews.com

Veteran Publicist Adriene Bowles Joins Annapurna Pictures As President Of Publicity

Posted Thursday, March 9th, 2017 - Comments Off on Veteran Publicist Adriene Bowles Joins Annapurna Pictures As President Of Publicity
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[PR] Adriene Bowles has joined Annapurna Pictures as President of Publicity, it was announced today. Bolstering the company’s new marketing and distribution operation, Bowles will spearhead publicity and awards campaigns on behalf of Annapurna’s future releases as well communication initiatives for the company.

Bowles joins Annapurna from Focus Features where she served as President of Worldwide Publicity and Executive Vice President of Marketing, working on films such as Tom Ford’s NOCTURNAL ANIMALS, James Marsh’s THE THEORY OF EVERYTHING, Jean-Marc Vallée’s DALLAS BUYERS CLUB, Gus Van Sant’s MILK, Sofia Coppola’s LOST IN TRANSLATION, and Ang Lee’s BROKEBACK MOUNTAIN. Previously, she worked as Executive Vice President of Publicity & Marketing at USA Films.

Bowles will work closely with and report to Annapurna President Marc Weinstock and President of Marketing David Kaminow in the role.

“In building our marketing dream team, there was no better choice, than Adriene, who from day one, was at the top of our list to run publicity.  Her impressive background, passion, and strategic creativity, are unparalleled and I look forward to collaborating on the many campaigns to come.” Said Kaminow.

Weinstock added, “As Annapurna continues to grow, we truly could not be happier with the addition of Adriene. Her tenacity, leadership, and forward-thinking approach make her undeniably the perfect fit to oversee all aspects of publicity for the company.”

“I’ve always been inspired by the bold entrepreneurial and creative vision of Megan Ellison and what she’s creating at Annapurna. I look forward to working with Marc, David and the passionate team there to continue building the brand and bringing great movies to audiences around the world.” Said Bowles.

Bowles joins Annapurna as they prepare to release Kathryn Bigelow’s UNTITLED DETROIT PROJECT, the first film under their new full-service marketing and distribution operation. The Annapurna-produced film, a crime drama set against the backdrop Detroit’s 1967 riots, will hit theaters on August 4, 2017.

ABOUT ANNAPURNA PICTURES

Annapurna Pictures, founded by Megan Ellison, focuses on creating sophisticated, high-quality content that is critically and commercially conscious while still appealing to a diverse audience. By upholding Ellison’s vision to put filmmakers and artists first and preserve their authentic creative voices no matter the genre or medium, in 5 years, the company has garnered a total of 31 Academy Award nominations for their projects, including ZERO DARK THIRTY, JOY, THE MASTER, FOXCATCHER, and THE GRANDMASTER. Ellison is also one of only four honorees ever to receive two Best Picture nominations in the same year, with HER and AMERICAN HUSTLE both earning nods in 2014. Currently, Annapurna is in post-production on Kathryn Bigelow and Mark Boal’s UNTITLED DETROIT PROJECT, which it will release as its first distribution title on August 4, 2017. The company is also in production on Paul Thomas Anderson’s untitled new period film starring Daniel Day-Lewis and is developing the film adaptation of Maria Semple’s WHERE’D YOU GO, BERNADETTE, to be directed by Richard Linklater.  Annapurna’s most recent projects include Mike Mills’ 20TH CENTURY WOMEN, which was nominated for two Golden Globes and earned Mills a Best Original Screenplay Academy Award nomination, as well as SAUSAGE PARTY, WIENER-DOG, and EVERYBODY WANTS SOME, with THE BAD BATCH set for release by Neon in 2017. Additionally, Annapurna is partners with Boal on the company Page One, where they produced 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?

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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?”

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