By MCN Editor editor@moviecitynews.com

LOREN SCHWARTZ PROMOTED TO EXECUTIVE VICE PRESIDENT, MARKETING FOR SCREEN GEMS

Posted Tuesday, June 22nd, 2010 - Comments Off on LOREN SCHWARTZ PROMOTED TO EXECUTIVE VICE PRESIDENT, MARKETING FOR SCREEN GEMS
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CULVER CITY, Calif., June 22, 2010 – Creative advertising veteran Loren Schwartz has been promoted to executive vice president, marketing for Screen Gems, it was announced today by Jeff Blake, chairman of Sony Pictures Worldwide Marketing and Distribution, to whom Schwartz will report.
In his new role, Schwartz will oversee the creation of trailers, posters, television ads, and other marketing materials that support the theatrical release of films from Screen Gems.
Commenting on the announcement, Blake said, “From Superbad and Grown Ups to Paul Blart Mall Cop and Pineapple Express, Loren has consistently developed innovative and successful marketing campaigns. He is well known and respected for his work developing award winning material on the kinds of motion pictures Screen Gems does best.”
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Added Clint Culpepper, president of Screen Gems, “I have been a huge fan and admirer of Loren’s work for a number of years and am tremendously excited that he is joining the Screen Gems team. I know our filmmakers are in great hands as we release one of the most highly anticipated film slates we have ever produced.”
Upcoming titles from Screen Gems includes Takers, Resident Evil: Afterlife, Country Strong, Easy A, Priest, The Roommate, and Burlesque.
Schwartz has been a key member of the creative advertising team at Sony for more than 14 years and he has developed numerous campaigns for the studio, most recently serving as senior vice president of creative advertising.
He has held a variety of positions over the years including vice president, director and manager of Creative Advertising. During his tenure at Sony, he oversaw or worked on campaigns for films such as Big Daddy, 50 First Dates, White Chicks, Big Fish, The Pink Panther, Benchwarmers, Pineapple Express, I Know What You Did Last Summer, and Cloudy With A Chance of Meatballs, among many others.
Before joining Sony Pictures Entertainment in 1996, Schwartz served as manager, Creative Advertising at Fox Searchlight for two years. He began his career at Trimark Pictures.
About Screen Gems
Screen Gems is the specialty production division at Sony Pictures Entertainment, which was created to finance and produce moderately budgeted films that are marketed to targeted audiences.

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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