By Ray Pride Pride@moviecitynews.com

PMK•BNC FILM DEPARTMENT GROWS WITH ADDITION OF REBECCA FISHER

Posted Tuesday, March 4th, 2014 - Comments Off on PMK•BNC FILM DEPARTMENT GROWS WITH ADDITION OF REBECCA FISHER
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FOR IMMEDIATE RELEASE

LOS ANGELES, CA – March 4, 2014 – PMK•BNC announced today that public relations executive, Rebecca Fisher has joined the agency expanding its Film Marketing and Distribution Department as Director of National Publicity.   Fisher comes to the PMK•BNC from an 8 year tenure at Block/Korenbrot public relations working on major theatrical and awards campaigns that include has for such celebrated films as “Before Midnight,” “In a Better World,” “A Separation” An Education, “Frozen River” and “Super Size Me,” among others. Previous to Block/Korenbrot she held public relations posts at the Seattle, Sundance and AFI Film Festivals. Fisher will based in PMK•BNC’s Los Angeles office.

“We are so fortunate to have Rebecca joining our team,” stated Marian Koltai-Levine, PMK•BNC’s EVP Film Marketing and Distribution. “She has a wealth of knowledge that makes her the perfect addition to our department.  In today’s fluid world of public relations and marketing, having someone with Rebecca’s honed skill set allows our department to grow with incredible depth of experience.”

PMK•BNC’s Film Department strives to create a home for strategic ideas to intersect with marketing, communications and distribution. The department’s approach to marketing and distribution reflects the team’s prior experience on both the studio and agency sides of the film industry. Recognized for offering clients a complete “outsourced marketing department,” as well as theatrical distribution services and media relations support for all aspects of the film industry, the department’s wide-ranging roster includes production companies, studios, directors, writers and producers.

About PMK•BNC

PMK•BNC is an influential public relations, marketing and consulting agency representing many of the world’s most prominent actors, actresses, musicians, films, production companies, TV properties, authors, content creators as well as leading consumer brands and prestigious special events. The agency employs a staff of more than 250 professionals spanning offices in Los Angeles, New York and London.  PMK•BNC thrives on being ahead of the curve and specializes in working with their clients to create ideas which build audiences, increase awareness and engage the consumer through the passion points of pop culture: music, sports, film, television, celebrity, technology, philanthropy, art and fashion.  PMK•BNC is a part of the Interpublic Group of companies (NYSE: IPG).

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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