By Ray Pride Pride@moviecitynews.com

Vin Diesel And H Collective Partners Acquire xXx Franchise

Posted Wednesday, April 18th, 2018 - Comments Off on Vin Diesel And H Collective Partners Acquire xXx Franchise
Be Sociable, Share!

THE H COLLECTIVE AND SONY PICTURES WORLDWIDE ACQUISITIONS STRIKE GLOBAL DISTRIBUTION DEAL

 The Partnership Will See the Studio Release and Market Up to Four Films Per Year from The H Collective

LOS ANGELES, CA (April 18, 2018) – LA-based studio The H Collective has entered into a deal with Sony Pictures Worldwide Acquisitions (SPWA) to distribute and market up to four films per year globally.

The announcement follows the news that The H Collective has acquired the xXx franchise with Vin Diesel’s One Race Films. The H Collective has several production deals with prominent producers including visionary James Gunn, with whom they are currently in production on an untitled horror thriller directed by David Yarovesky and starring Elizabeth Banks. They are currently in post-production on Christopher Cantwell’s The Parts You Lose starring Aaron Paul, Scoot McNairy and Mary Elizabeth Winstead and produced by Mark Johnson under his Gran Via banner.

The H Collective CEO Nic Crawley said: “During my time working in the studio system I’ve established a strong relationship with Josh Greenstein, President of Worldwide Marketing and Distribution and Steve Bersch, President of Worldwide Acquisitions at Sony Pictures. Their teams are the best in class, and their distribution strategies and platform are the perfect complement to our diversified slate. We’re looking forward to growing this partnership and collaborating with the entire Sony family.”

Josh Greenstein, President of Worldwide Marketing & Distribution, Sony Pictures Entertainment’s Motion Picture Group said: “We’re incredibly excited to be in business with The H Collective. Nic and his team are working with some of the most exciting and innovative filmmakers today. We look forward to sharing their unique stories with the world, creating dynamic campaigns, and distributing them around the globe.”

The H Collective, which launched in June 2017, is a global film finance, production, marketing and distribution company to produce and finance a diversified slate of four high-quality films per year including prestige, horror, action comedy and franchise IP.  The H Collective recently acquired the rights to Aaron W. Sala’s horror thriller spec The Beast.

Greenstein brought the deal to SPWA, and SPWA’s Co-Head Michael Helfand negotiated the deal with Nic Crawley and Jenna Sanz-Agero at The H Collective.

# # #

ABOUT THE H COLLECTIVE

Launched in June, and with offices in Los Angeles, The H Collective is a global film finance, production, marketing and distribution company that is producing a diversified slate of four high-quality films per year.  The company established production deals with prominent producers such as James Gunn, Mark Johnson, Joe Roth, and Sid Ganis on a roster of films that encompasses Family/Comedy, Action/Adventure, Horror/Genre and Prestige fare. The slate includes: an untitled horror feature produced by James Gunn, directed by David Yarovesky and starring Elizabeth Banks; Christopher Cantwell’s The Parts You Lose starring Aaron Paul, Scoot McNairy and Mary Elizabeth Winstead. The H Collective most recently acquired the rights to Aaron W. Sala’s horror thriller spec The Beast and will produce the fourth installment of the xXx franchise. The H Collective has recently formed a management arm with Chinese stars Li Bingbing and Karry Wang among the firm’s first talent. For further information, visit: www.thehcollectivefilms.com.

ABOUT SONY PICTURESWORLDWIDE ACQUISITIONS

Sony Pictures Worldwide Acquisitions (SPWA) is a Sony Pictures Entertainment (SPE) company. Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., which is a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. SPE’s Motion Picture Group production organizations include Columbia Pictures, Screen Gems, TriStar Pictures, Sony Pictures Animation, Stage 6 Films, AFFIRM Films, and Sony Pictures Classics. For additional information, visit http://www.sonypictures.com/corp/divisions.html.

Be Sociable, Share!

Posted in MCN Curated Headlines, Movie City News, Press Releases | Comments Off on Vin Diesel And H Collective Partners Acquire xXx Franchise

Comments are closed.

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