By Ray Pride Pride@moviecitynews.com

Olivier Assayas Going Cold War With Next Film

OLIVIER ASSAYAS TO WRITE AND DIRECT “WASP NETWORK” FOR RT FEATURES AND CG CINEMA

Based on Fernando Morais’ Book The Last Soldiers of the Cold War

LOS ANGELES (April 6, 2016) — RT Features and CG Cinema announced today that Olivier Assayas will write and direct Wasp Network, which is based on Fernando Morais’ book, The Last Soldiers of the Cold War.  RT Features’ Rodrigo Teixeira will produce alongside CG Cinema’s Charles Gillibert.  RT’s Lourenço Sant’Anna and Sophie Mas will executive produce.  Wasp Network is the unbelievable true story of Cuban spies in American territory during the 90’s which reveals the tentacles of a terrorist network based in Florida with ramifications in Central America and with the consent of the US government.

Assayas most recently wrote and directed Personal Shopper starring Kristen Stewart, which made its world premiere at the 2016 Cannes International Film Festival where Assayas was awarded Best Director.  IFC Films released the film in the U.S. on March 10thto a solid debut.  This follows Clouds of Sils Maria, which Assayas wrote and directed, starring Stewart and Juliette Binoche. The film made its world premiere at the 2014 Cannes Film Festival where Assayas was nominated for the Palme d’Or and Stewart earned the prestigious César Award for Best Supporting Actress.

Assayas was also nominated for the Palme d’Or for Demonlover in 2002 and for Les destinées in 2000. In addition, he was nominated for a Primetime Emmy Award in 2011 for Outstanding Directing for a Miniseries, Movie or a Dramatic Special for Carlos starring Edgar Ramírez.

RT Features has had a banner year with 10 films on its slate, including two of the most anticipated films of the year premiering to critical acclaim at the Sundance Film Festival: Luca Guadagnino’s Call Me by Your Name starring Armie Hammer which was acquired by Sony Pictures Classics and Geremy Jasper’s Patti Cake$, which was acquired by Fox Searchlight.  The company won an Independent Spirit Award for Best First Feature for Robert Egger’s The Witch, which was distributed by A24 and are in preparation on the sci-fi film Ad Astra, which they have been developing with director James Gray to star Brad Pitt.

Gillibert is a frequent collaborator to Assayas, having produced Personal Shopper, Clouds of Sils Maria, Summer Hours.  CG Cinema is in post-production on Deniz Gamze Ergüven’s Kings, the much-anticipated follow-up to Mustang, starring Halle Berry and Daniel Craig.

Assayas is represented by WME and Intertalent while RT Features is represented by CAA.

ABOUT RT FEATURES

Founded by Rodrigo Teixeira in 2005, RT Features is an innovative production company based in Sao Paulo, Brazil, that focuses on developing, producing and financing high quality content ranging from original projects to acquisitions, for both film and television.

Since its launch, RT Features has produced, co-produced or financed a remarkable slate of feature films including: Ira Sachs’ critically acclaimed Love is Strange for Sony Pictures Classics and Little Men; James Schamus’ Indignation; Noah Baumbach’s Frances Ha and Mistress America for Fox Searchlight; Kelly Reichardt’s Night Moves; and Gaspar Noé’s Love.  Dedicated to working with talented young directors since its inception, RT Features formed a joint venture with Martin Scorsese’s Sikelia Productions which aims to produce films from emerging filmmakers worldwide.

ABOUT CG CINEMA

Charles Gillibert created the author driven production company, CG CINEMA in 2013. In these last four years, CG CINEMA has produced many international projects and awards in all the majors festivals.  Productions include : Clouds of Sils Maria by Olivier Assayas (Cannes FF 2014 ; starring Juliette Binoche, Kristen Stewart and Chloë Grace Moretz) ; Eden by Mia Hansen- Løve (Toronto FF 2014); The Oscar nominated Mustang by Deniz Gamze Ergüven, which won four awards at the French Cesars Ceremony.

 

More recently, CG Cinema produced Things to Come by Mia Hansen- Løve, Silver Bear at the 2016 Berlinale and Personal Shopper by Olivier Assayas, which won Best Director Award at the 2016 Cannes Film Festival.  Kings by Deniz Gamze Ergüven starring Halle Berry and Daniel Craig and 24 Frames by Abbas Kiarostami are both in postproduction.

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One Response to “Olivier Assayas Going Cold War With Next Film”

  1. Chris L. says:

    “Idol’s Eye,” wherefore art thou…:(

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