By Ray Pride Pride@moviecitynews.com

Louis C. K.’s Hot-Button Clandestinely-Produced Woody Allen Homage Gets November NY/LA Release

Posted Wednesday, September 27th, 2017 - Comments Off on Louis C. K.’s Hot-Button Clandestinely-Produced Woody Allen Homage Gets November NY/LA Release
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THE ORCHARD ANNOUNCES LOUIS C.K.’S “I LOVE YOU, DADDY”

TO OPEN THEATRICALLY NOVEMBER 17 IN NEW YORK AND LOS ANGELES

Comedy Stars Louis C.K., John Malkovich, Chloë Grace Moretz, Rose Byrne,

Edie Falco, Charlie Day, Pamela Adlon, Helen Hunt, and Ebonee Noel

Photo credit: Courtesy of The Orchard. Click here for artwork.

NEW YORK (September 27, 2017) – The Orchard announced today it will theatrically release Louis C.K.’s dark comedy I LOVE YOU, DADDY on Friday, November 17 in New York and Los Angeles, and then expand across North America on December 1st. The film stars Louis C.K., John Malkovich, Chloë Grace Moretz, Rose Byrne, Edie Falco, Charlie Day, Pamela Adlon, Helen Hunt, and Ebonee Noel.

I LOVE YOU, DADDY is a brazen and funny look at fascination with artists and scandal and being a father. Written and directed by Louis C.K. from a story by C.K. and Vernon Chatman, the 35mm black and white film was shot earlier this year and made its world premiere to critical acclaim and sold-out screenings this month at the Toronto International Film Festival. I LOVE YOU, DADDY is produced by Louis C.K., Vernon Chatman, John Skidmore, Dave Becky and Ryan Cunningham. www.ILoveYouDaddy.film

 

About The Orchard

The Orchard, celebrating 20 years in business, is a pioneering independent film, TV and music distribution company that operates in over 25 global markets. The company, founded as a music distributor in 1997, is a groundbreaking leader in the film and television distribution space, known for its innovative technology that provides filmmakers with up-to-the minute trending data and analytics on their projects. Upcoming releases include Super Dark Times, Foreign Film Oscar contenders Beats Per Minute and Thelma, Sundance Jury prize winner Dina, The Work, 11/8/16, Max Winkler’s Flower and Deniz Gamze Erguven’s Kings. The company’s film division has enjoyed such recent successes as the Academy Award-nominated documentaries Cartel Land and Life, Animated; Taika Waititi’s The Hunt for the Wilderpeople, Academy Award-winner Morgan Neville’s The Music of Strangers, Alex Lehmann’s Blue Jay, Antonio Campos’ Christine and Pablo Larrain’s critically acclaimed, Golden Globe-nominated Neruda, Oren Moverman’s The Dinner and Jeremiah Tower: The Last Magnificent. The company is currently in theaters with the Sundance documentary Trophy and just finished the theatrical run for The Hero, which has the third highest box office of any Sundance movie released this year. For more information on The Orchard, please visit www.theorchard.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