By Ray Pride Pride@moviecitynews.com

CENTROPOLIS ENTERTAINMENT AND VOLTAGE PICTURES SET TO PRODUCE ROLAND EMMERICH’S HISTORICAL EPIC MAYA LORD

Berlin (February 14, 2018) Centropolis Entertainment and Voltage Pictures are set to produce the thrilling historical epic feature film Maya Lord from visionary filmmaker and box-office powerhouse Roland Emmerich (Independence DayThe Day After Tomorrow), it was announced today by Centroplis.

Angela Workman (The Zookeeper’s Wife) has written the script to be directed by Emmerich.

Voltage is also handling international sales for the film. Emmerich and Voltage’s Nicolas Chartier will introduce the project to buyers at a special presentation at the European Film Market on Thursday, February 15th.

US and China rights are repped by CAA.

In the vein of Dances With Wolves, Braveheart and The PatriotMaya Lord is a timely tale of oppression and survival.  Guerrero, a solider, and Aguilar a priest survive a violent shipwreck in the Yucatan Peninsula only to be captured by a fierce Mayan tribe. With no hope for escape, the brilliant and pragmatic adventurer Gonzalo Guerrero chooses to adopt the Mayan culture as his own, while the uncompromising Father Aguilar holds fast to his Christian faith.  The arrival of the conquistadors in 1519 tests the will of both men as they take different warring paths.

“I have been passionate about bringing this incredible true story of famed adventurer Gonzalo Guerrero to audiences for a long time, so I am delighted to be joining forces with Nic Chartier and the team at Voltage to bring this rich and powerful film to life,” commented Roland Emmerich.

Nicolas Chartier said, “Roland Emmerich is one of the biggest directors in the world. His movies take the audience on an emotional ride for a never-been-seen adventure every single time. We love his vision and passion for Maya Lord. This will be the perfect film for buyers who want event movies that can compete with studios releases in their countries.”

Roland Emmerich is the internationally renowned director, producer, and screenwriter whose films, including Independence Day,StargateGodzillaThe PatriotThe Day After Tomorrow2012, and White House Down, have taken in more than $4 billion at the worldwide box office.

In his native Germany, Emmerich’s career began when his first film, The Noah’s Ark Principle, played in competition at the 1984 Berlin Film Festival. Other credits include Anonymous, which explored the explosive theory that Shakespeare’s plays were actually written by Edward De Vere, and Stonewall, a drama about the Stonewall Riots in 1969 New York, which sparked the LGBT civil rights movement.

He set up Centropolis Film Productions in 1985 and under this banner, he has produced and directed almost 30 feature films.

Emmerich is repped by CAA and Bloom Hergott.

ABOUT CENTROPOLIS ENTERTAINMENT

Centropolis Entertainment is the film and television production company of international filmmakers, director/writer/producer Roland Emmerich, and his sister, producer Ute Emmerich. Since the company’s inception in 1985, its manymaxine films – including The PatriotThe Day After Tomorrow, 2012, Godzilla and Anonymous — have grossed over $3 billion worldwide.

ABOUT VOLTAGE PICTURES

Voltage Pictures, established in 2005, is a privately held, film and television production, financing and sales entity.  Voltage has won six Academy Awards including Best Picture for “The Hurt Locker”; and three Academy Awards for “Dallas Buyers Club.” The company is currently in production on “Extremely Wicked, Shockingly Evil, and Vile” starring Zac Efron, Lily Collins, John Malkovich, Kaya Scodelario, and Jim Parsons, and is in post-production on “I Feel Pretty” starring Amy Schumer, Michelle Williams and  Emily Ratajkowski which is set to release wide via STX. Voltage just completed production on “Departures” starring Maisie Williams, Asa Butterfield, Nina Dobrev, and Ken Jeong as well as “Welcome Home” starring Aaron Paul and Emily Ratajkowski.  Voltage’s recent releases include “Colossal,” starring Anne Hathaway, Jason Sudeikis and Dan Stevens; “All Eyez on Me,” one of the highest grossing independent films of 2017 via Lionsgate / Summit Releasing; and Taylor Sheridan’s critically acclaimed “Wind River.”

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One Response to “CENTROPOLIS ENTERTAINMENT AND VOLTAGE PICTURES SET TO PRODUCE ROLAND EMMERICH’S HISTORICAL EPIC MAYA LORD”

  1. colosson says:

    So, Emmerich is kinda remaking “The Mission” then?

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