By Ray Pride Pride@moviecitynews.com

“David Gordon Green and John Sloss announced they will partner to create Brand New Story. The company will work with world class brands and elite Hollywood storytellers to finance, develop, distribute and market long-form content, seamlessly integrating brand ethos into pure entertainment.”

Posted Tuesday, March 5th, 2019 - Comments Off on “David Gordon Green and John Sloss announced they will partner to create Brand New Story. The company will work with world class brands and elite Hollywood storytellers to finance, develop, distribute and market long-form content, seamlessly integrating brand ethos into pure entertainment.”
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FILM VETERANS DAVID GORDON GREEN & JOHN SLOSS LAUNCH BRAND NEW STORY TO ACCELERATE THE CONVERGENCE OF BRAND MARKETING AND LONG-FORM ENTERTAINMENT
 
Venture will be a joint undertaking from indie powerhouses Rough House Pictures and Cinetic Media.
For Immediate Release
(New York, NY – Tuesday, March 5) David Gordon Green and John Sloss announced today that they will partner to create Brand New Story. The company will work with world class brands and elite Hollywood storytellers to finance, develop, distribute and market long-form content, seamlessly integrating brand ethos into pure entertainment.
John Sloss said, “As the 30-second commercial slips further into obsolescence and consumers increasingly reject product placement and sponsored content, an opportunity presents itself for brands to support stories that succeed in conveying key messaging, without sacrificing entertainment value.” Sloss added, “In today’s fragmented content landscape there are no longer restrictions on who can deliver great stories. With their intimate knowledge of consumer preference and behavior, brands stand well-positioned to ensure these great stories find their most receptive audiences.”
As a full-service advisor, Brand New Story helps brands identify feature film and television projects to invest in and share their message by developing a strategic distribution and marketing ecosystem deploying brand channels for promotion. Amongst its many benefits, this new model can provide brands with all of the additional revenue sources enjoyed by traditional media companies while finding deeper consumer connections.
David Gordon Green said, “Our goal is to develop a new paradigm for storytellers, with new ways to structure the finance and exhibition of film and television through relationships with brands that share common values, while maintaining the creative integrity of their storytelling. This is as much an opportunity for filmmakers as it is for brands.”
Brand New Story is a joint venture between Rough House Pictures and Cinetic Media. Joining Green and Sloss as the CEO of Brand New Story is Jared Shulman, an entertainment marketing executive with nearly 15 years of experience helping brands tell their stories through innovative content initiatives while at Creative Artists Agency and most recently ACE, Anomaly’s original and branded content studio.
To learn more please visit: www.brand-new-story.com
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ABOUT Rough House Pictures
Rough House Pictures was created by David Gordon Green, Jody Hill and Danny McBride. Following its success with the hit comedy series “Eastbound and Down,” on HBO, Rough House established itself as a hub for bold voices in both comedy and drama. Rough House produced such films as “Halloween” and “The Legacy of a Whitetail Deer Hunter,” and television series including HBO’s “Vice Principals” and the upcoming HBO series, “The Righteous Gemstones” starring Danny McBride and John Goodman.
ABOUT Cinetic Media
Cinetic Media is a full-service talent management and strategic advisory firm for the media and entertainment industries.
Founded in 2001, Cinetic Media has participated in the development, production, financing, marketing, and sales of over 600 films for domestic, international and worldwide distribution. Most recently, Cinetic assembled financing and executive produced the Academy Award® winning GREEN BOOK, and its sales division just set a Sundance record for documentary sales with KNOCK DOWN THE HOUSE to Netflix.
Cinetic provides corporate advisory, business development, and operational services to creators, producers, and media companies across the content landscape and has been directly involved with 3 of the 5 Oscar nominated feature documentaries for two consecutive years including FREE SOLO, RBG, and HALE COUNTY THIS MORNING, THIS EVENING. Other titles include A PRIVATE WAR, AMY, NAPOLEON DYNAMITE, LITTLE MISS SUNSHINE, and PRECIOUS. Films produced or executive produced also include BOYHOOD, LAST FLAG FLYING, Richard Linklater’s “BEFORE” Series, WONDERSTRUCK, I’M NOT THERE, the Academy Award® winning THE FOG OF WAR, BOYS DON’T CRY, FRIENDS WITH KIDS, BARRY and BLAZE.  Through distributor PDA, Cinetic has directly overseen the US releases of titles such as EXIT THROUGH THE GIFT SHOP, SENNA, THE WAY, and others.
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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