By Ray Pride Pride@moviecitynews.com

AGC STUDIOS PICKS UP ROLAND EMMERICH’S MIDWAY

Posted Wednesday, May 2nd, 2018 - Comments Off on AGC STUDIOS PICKS UP ROLAND EMMERICH’S MIDWAY
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AGC STUDIOS PICKS UP ROLAND EMMERICH’S MIDWAY

 Starlight Culture Entertainment Group and Providence Entertainment Limited To Fully Finance The WWII Epic

LOS ANGELES (May 2, 2018) – Stuart Ford’s AGC Studios has acquired the international rights to Midway, to be directed by iconic filmmaker Roland Emmerich (Independence Day franchise, The Day After Tomorrow) from a script by Wes Tooke, and will introduce the film to buyers at Cannes. Starlight Entertainment Group and Providence Entertainment Limited are financing Midway. U.S. and China theatrical distribution is already set with Lionsgate to release through its Summit Entertainment label stateside and Bona Film Group to release in Greater China. Creative Artists Agency (CAA) brokered the financing and distribution deals.

Produced by Emmerich’s Centropolis Entertainment, Midway will be produced by Roland Emmerich, Harald Kloser (2012, White House Down, Independence Day: Resurgence), and Mark Gordon (Saving Private Ryan, The Patriot, Molly’s Game). The film is in pre-production with principal photography to start August 16.

 ‎”Roland’s track record and brand as a master of big budget action films is second to none and I’m highly confident Midway will make a big splash in the Cannes marketplace,” said Ford.

Based on the true story of the Battle of Midway, a turning point in the Pacific theater of World War II, the film chronicles the heroic and harrowing exploits of the soldiers and aviators who achieved the unbelievable to turn the tide of the war.

Emmerich and Kloser are represented by CAA and Bloom Hergott Diemer Rosenthal Laviolette Feldman Schenkman & Goodman. Tooke is represented by WME, Rain Management Group and Lichter, Grossman, Nichols & Adler.  AGC’s deal was brokered by Ford and the company’s Chief Operating Officer Miguel Palos.

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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

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~ David Simon