By Ray Pride



The Academy Award®-Nominated Producer Proves Instrumental In Building Atlas’ Business Across TV & Film


(LOS ANGELES, CA) May 30, 2018 – Today, Atlas Entertainment’s Founder/CEO Charles Roven announced that the company has elevated longtime executive and veteran producer, Richard Suckle, to the position of President, effective immediately.  In his new role, Suckle will work closely with Roven to guide the direction of the company, mentor its creative executives and continue producing acclaimed projects.

“Richard is an incredible producer and has been an invaluable asset in the 26 years that he has been a part of the Atlas family,” said Roven, “I admire his impeccable taste and his commitment to growing Atlas. I feel incredibly fortunate to have the opportunity to continue working with him in a greater capacity.”

Suckle added, “I am honored to expand my role at the company and to partner alongside Chuck, who I deeply respect as a colleague, mentor and friend.  Atlas has been my home for many years and I am thrilled to continue collaborating with our incredibly talented team here in a more meaningful way.”

An Academy Award®-nominated and Golden Globe®-winning producer, Suckle, along with Roven, produced David O. Russell’s critically acclaimed box office hit, American Hustle. The film won three BAFTA awards and was nominated for ten Academy Awards® including a Best Picture nomination. It also received seven Golden Globe® nominations, winning three including Best Motion Picture – Comedy or Musical. Most recently, Roven and Suckle produced Patty Jenkins’ Wonder Woman, which was the highest-grossing live-action movie directed by a woman and was nominated for the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures by the PGA. Additionally, the pair produced David Ayer’s Suicide Squad, which is one of the 100 top-grossing films of all time. Roven and Suckle have also been involved in producing branded, franchise properties like the $275-million-plus worldwide box office hit Scooby-Doo, and its sequel, Scooby-Doo 2: Monsters Unleashed.

Suckle has been instrumental in growing Atlas’ presence on the television front.  He is an executive producer on Syfy’s 12 Monkeys, based on the 1995 Academy Award®-nominated Atlas-produced film of the same name, which will return for its fourth and final season on June 15, 2018.  He also brought the upcoming true-crime, scripted anthology series Dirty John to Atlas, which is currently in pre-production and stars Connie Britton and Eric Bana.  The series, which received a two season, straight to series order from Bravo, is set to premiere in last quarter of 2018.

Suckle joined Atlas in 1992 as Roven’s assistant and quickly moved up the ranks— becoming a producing partner of Roven’s.  Prior to joining Atlas, Suckle gained experience in the music industry at public relations firm Shore Fire Media, where he worked with Grammy® Award-winning artists Wynton Marsalis and Bruce Springsteen.  Suckle started his career on Broadway at the general management firm Gatchell & Neufeld, working on Andrew Lloyd Webber’s Aspects of Love and the Tony® Award Winners Lettice & Lovage and City of Angels.

The Atlas team further includes longtime producer Alex Gartner and executives Andy Horwitz, Curt Kanemoto, Rebecca Roven Oakley, Topher Rhys Lawrence, Madison Weireter, Melinda Whitaker, Robert Amidon and Elise Iglesias.

Currently, Atlas is in production on J.C. Chandor’s Triple Frontier, starring Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund and Pedro Pascal and produced by Roven, Gartner, and Horowitz, which will be released by Netflix, as well as Wonder Woman 2, which Roven is producing and Suckle and Roven Oakley are executive producing for Warner Bros.

Since its inception, Atlas Entertainment has produced tent pole films, independent features, and television shows— collectively generating billions of dollars in revenue. At the global theatrical box office, Atlas’ films have earned over $2 billion in 2016 and over $1.6 billion in 2017.


Be Sociable, Share!

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