Berlin: Mary-Louise Parker, Ashley Benson Join
JANUARY 29, 2015 | 06:29PM PT
Mary-Louise Parker, Ashley Benson, Chris Noth and Shiloh Fernandez will star in the independent comedy “Chronically Metropolitan.”
Tannaz Anisi’s 13 Films is handling international sales and will introduce the film to buyers at the upcoming European Film Market in Berlin. WME is handling U.S. rights.
Jamin O’Brien and Daniel L. Blanc are producing through the Community, and David Frankel is exec producing. Xavier Manrique is making his feature film directorial debut from a script by newcomer Nicholas Schutt.
Principal photography on the project is slated to begin in February.
Fernandez will play a first-time novelist who returns to New York City unannounced ready to reclaim his lost love, played by Benson, who is engaged to be married. Noth and Parker will play the parents of Fernandez’s character.
Parker is repped by WME, Noth by the Gersh Agency and Sanders Armstrong Caserta Management, Benson by CAA and LBI Entertainment, Fernandez by WME and Untitled Entertainment. Schutt is repped by Langley Perer at Mosaic.
FILED UNDER: Ashley BensonBerlin Film FestivalChris NothChronically MetropolitanMary-Louise Parker
EXCLUSIVE: The LA-based sales company will kick off sales at EFM next week on The Community’s comedy to star Shiloh Fernandez, Chris Noth, Mary-Louise Parker and Ashley Benson.
Xavier Manrique will direct his feature debut from a screenplay by Nicholas Schutt. The Community’s Jamin O’Brien and Daniel L Blanc produce while David Frankel is attached as executive producer.
Chronically Metropolitan is set to begin shooting in February and tells of a novellist in New York who enlists his sister and drug dealer best friend to help him win back his lost love.
Tannaz Anisi’s 13 Films handles international sales and WME Global represents US rights.
“We want to make films that the studios have abandoned in lieu of tentpoles,” said The Community co-head O’Brien. “Chronically Metropolitan is incredibly smart and full of depth, all while being commercially viable and accessible to large audiences.”
“Producer Jamin O’Brien has assembled a strong cast anchored by the talented and charming Chris Noth and Mary-Louise Parker, who will be able to showcase their comedic skills with this entertaining and light-hearted script,” said Anisi.
Sadoski’s projects include Neil LaBute’s new play, The Way We Get By, oppositeOrphan Black star Tatiana Maslany.
By David Gordon • Dec 5, 2014 • New York CityFor a number of years Thomas Sadoski was one of New York’s most visible stage actors, racking up award nominations for his performances in off-Broadway shows like Becky Shaw and reasons to be pretty (which he repeated on Broadway to Tony-nominated acclaim). He picked up Obies and a Lortel Award for his work in Other Desert Cities at Lincoln Center Theater (which he also did on Broadway). Then, television came a-calling, and it was an offer no one could refuse: a principal role on Aaron Sorkin’s HBO series The Newsroom. Though Sadoski didn’t disappear from the stage, his TV schedule made doing theater a bit harder.Now with The Newsroom ending its three-season run, Sadoski is getting ready to “come home” to the stage in Neil LaBute’s The Way We Get By, opposite Tatiana Maslany of the TV series Orphan Black. But first there are a few movies to promote. One of them is Take Care, an indie film written and directed by Liz Tuccillo. It stars Leslie Bibb as a woman who has to call upon her ex-boyfriend (played by Sadoski) when she is hit by a car and realizes that her closest friends don’t want to take care of her. The role was a departure for Sadoski. In a wide-ranging conversation with TheaterMania, he discusses why.
Is this your first time doing a romantic comedy?
To play a lead in a romantic comedy is not something I thought would ever come my way, so when it did, and it was different in a cool way, I was really excited. I was happy to jump on board.
It was described as a romantic comedy, and I see why people think of it [as that], but there’s a darkness to it underneath it all…you’re dealing with some pretty intense subject matter that, in a way, is gentle and funny, but it was important that we paid respect to the guts underneath it. That was the way we were going to make this different than any other typical romantic comedy.
What was more attractive to you: the script and your role, or the fact that nearly everyone in the cast is a fellow theater person?
I read the script first and loved it, and met with Liz and Leslie and fell in love with them. And then, as I saw the cast come together, I got more and more excited. They attached Betty [Gilpin] and I was thrilled. Then I heard Marin [Ireland, whom Sadoski played opposite in reasons to be pretty] came on board and I was jumping up and down. Yul [Vasquez], [Tracee] Chimo, Michael Stahl-David, and Nadia Djani, all of these people I know. I love these guys and we’ve come up together. It was a really cool thing for us to make this movie together.
When you first started your transition from theater into film and television, what were some of the surprises you encountered regarding the differences between media?
Theater, ultimately, is a literary art form. It’s all about the words. Film is a visual medium. You can engender a lot of a response without having to say anything…it’s amazing, when they do a close-up of your eye and throw some violins underneath it, you don’t have to talk. For me, it’s been a long process of learning to just let that be.
Was working on The Newsroom — a series created by theater vet Aaron Sorkin in which you performed alongside Broadway’s Jeff Daniels, John Gallagher Jr., and Alison Pill — a lot like going to work on a play?
That’s the thing with Aaron’s work: He’s a playwright first and foremost. He’s writing an eighty-page play every week for the screen…It was no accident that we had these crazy-talented theater artists working on that set. It certainly helped inspire that mood of we’re a company and we’re doing a play.
When we first meet Frannie, the protagonist of writer-director Liz Tuccillo’s debut feature, Take Care, she’s fresh from the hospital, arm in a sling, leg in a brace, being wrangled from a cab by her sister and a friend. As they confront the challenge of how to get her into her walk-up apartment, Frannie’s least favorite neighbor passes on his way to work. Although he makes the exact opposite of an offer to help, before long he is hauling Frannie up four flights on his back.
Family and friends initially pitch in to tend to her, but in our ADHD world, Frannie isn’t anyone’s priority. Nor is she in any mood, as she battles constant pain and the indignity of helplessness, to hear her neighbor explain why people can’t really be there: “They want to go to the movies or they want to go out to eat…Everyone’s just trying to squeeze out a little happiness in life, and the last thing they want is someone getting in their way.” He speaks from personal experience: “When someone asks me to do them a favor, it feels like they’re literally sucking the air out of my lungs.”
One night on (drug-fueled) impulse Frannie reaches out to the last person she should be in contact with, the ex she and her friends refer to as “The Devil” for something he did in their past. He surprises them both by agreeing to meet, and their awkward encounter promises to be the end of things. Then he tosses out a thoughtless “Call me if you need anything” and Frannie’s head explodes, harsh truths and unexpected demands bursting out. Before we know it, the Devil (real name: Devon) has agreed to be her daily caretaker. Devon has a girlfriend of two years and a recent $6 million payday for selling an app to Yahoo!, but he’s soon putting his life on hold to be nursemaid, companion and cook, in a setup worthy of Almódovar, to a woman whose primary emotion is rage. The unpacking of Frannie and Devon’s fraught history, subtly and believably etched, expands the absurdist romp into an affecting love story.
For a particular generation, Dean Cain will always be Superman!
The actor, who also appeared in such films as Rat Race, Out of Time, 5 Days of War, and God’s Not Dead, is best known for playing the man of steel in the ‘90s series Lois & Clark: The New Adventures of Superman. But Cain has also appeared in a surprising amount of Christmas movies (The Case for Christmas, A Christmas Wedding, Defending Santa), as well as films featuring talking dogs (Aussie and Ted’s Great Adventure,The Dog Who Saved Halloween). Now Cain combines the two genres with his latest movie The Three Dogateers, which will be available on DVD and digital download beginning November 18th.
The Three Dogateers follows three little dogs that are left on their own a few days before Christmas. A couple of no-good burglars have made off with all of the family’s presents and decorations, and it’s time for the Three Dogateers to unite and set off on a journey to sniff out the bad guys. But with the world’s meanest dogcatcher hot on their tails, they may need a little help from Santa Claus (RichardRiehie) himself to save Christmas! It’s basically the canine version ofHome Alone. Cain plays Matt, the husband of the dog’s owner who needs to find his wife’s pets before she returns for the holidays.
I recently had the absolute pleasure of speaking with Dean Cain about his work on The Three Dogateers, as well as being part of the Superman legacy. The talented veteran actor discussed his new film, talking dog movies, the challenges of acting with animals, how to make a classic Christmas film, performing broad comedy, why he feels honored to have played Superman, DC’s new “no jokes” policy for their upcoming movies, and why Supermanshouldn’tkill!
Here is what DeanCain had to say about The Three Dogateersand why Superman shouldn’t kill:
IAR: To begin with, I have to confess that I am a sucker for a talking dog movie. The Three Dogateers is not the first time that you have appeared in a talking dog film, how do you feel about the genre?
Actor Dean Cain recently spoke to the Chico Movie Examiner about his new film, “The Three Dogateers,” which released to DVD on Nov. 18. Cain is best known for his work in “Lois & Clark: The New Adventures of Superman,” and he can currently be seen in the VH1 series, “Hit the Floor.”
In his new film, Cain plays Matt, a man who has to get everything ready for Christmas before his wife gets home. However, he then receives a call from his employer, who tells him he has to make a business trip to one of his company’s biggest buyers. The trip is a 14-hour drive, and Matt’s wife is expected to be home soon. But Matt doesn’t want to get fired, so he drops all of his plans and hits the road.
After he leaves, thieves break into his home and steal his Christmas tree and all of the presents. That’s when the Three Dogateers step in and set out to retrieve the stolen goods before their owners get home.
Cain talks about what he loves so much about Christmas; what other literary characters he would like to see in dog form; which of the dogs in the film best represents the dogs he owns in real life; and a lot more in this exclusive interview. Check it out below.
David Wangberg: I was looking at your filmography, and I noticed that you’ve done maybe 15 Christmas movies including this one and a couple others you have coming out soon. And you’ve been given the title Mr. Christmas by a lot of people. Out of curiosity, have there been any Christmas movies that you’ve rejected mainly because you didn’t want to star in them?
Dean Cain: Absolutely not! Well, no, that’s not true. Yes, there have been. There were some that didn’t fit in schedule-wise. There are a million different reasons why I wouldn’t do one [including] location, schedule conflict, money, [and] content. I mean, there are a lot of reasons. I have said no to some.
I started producing some of my own. But the thing is, even back when I was on “Lois & Clark,” the first episode I ever wrote of “Lois & Clark” was a Christmas episode. I just love Christmas. I love the holiday; there’s just something about it that gets to me. It’s my favorite time of the year, and I really enjoy making movies about it.
By Erin Grover | SydneysBuzzNovember 14, 2014 at 3:33PM
Coverage of ISA’s (international sales agents) resumed for The American Film Market. This segment follows leaders and innovation in the world of international film sales and distribution.
Sales veteran and President of 13 Films Tannaz Anisi launched her Los Angeles based distribution and finance company just a year ago at The American Film Market. Her expertise, honest work ethic, and keen sensibilities are widely respected in the industry and have helped her to start 13 Films with strong financial backing. One year later, Tannaz shares the latest progress on this exciting venture:
I launched 13 Films a year ago, so this AFM marks my one year anniversary. It’s very exciting to see how far the company has come since its inception, as we continue to grow and build a full slate of films.
Given my background as a foreign sales agent, the timing was right to start my own company and I was able to secure strong investors to back my vision.
My aim is to seek cast-driven, commercial films with theatrical potential across all genres. Our eclectic state includes romantic comedies, action films, thrillers and family films.
We’re looking for about eight to ten films a year in pre-sales, peppered with a few finished films. What is your background in sales?
For the last seven years, I was a freelance sales consultant and had the opportunity to work for some of the leading companies in the business – Voltage Pictures and Sierra/Affinity, to name a few.
Over the years, I developed great relationships and relished being able to work on high profile projects. However, I felt I was ready to make the transition from freelance consultant to having my own company and being able to immerse myself in my own projects.
Once I secured the financial investment, it was time to move forward with full force and determination. How did you first get involved in the business?
I’ve been in the industry for about 18 years.
My very first job in the industry was working in production actually. I worked for PentAmerica Pictures, which was a partnership between Vittorio Cecchi Gori and Silvio Berlusconi.
Jae-woo Kim has joined Los Angeles-based 13 Films as director of international sales and is at the AFM talking up new titles Voice From The Stone, Extortion and Loitering With Intent.
Kim (pictured) reports directly to company founder Tannaz Anisi and most recently served as international business manager at South Korean sales outfit 9ers Entertainment, where she acquired the Point Break remake and Johnny Depp adventure comedy Mortdecai.
Action title Extortion is scheduled to shoot in Puerto Rico on November 17 and stars Frank Grillo, Ving Rhames, Jake McLaughlin, Barkhad Abdi and and Nicky Whalen.
Phil Volken will direct from his screenplay about a vacationing family stranded on a Caribbean island where local fisherman hold them ransom. Volken produces Alina Shraybman.
Comedy Loitering With Intent stars Marisa Tomei and Sam Rockwell and receives its world market premiere following the world premiere in Tribeca. Adam Rapp directed the story of a beautiful woman whose unexpected arrival disrupts a writers getaway. The Orchard holds US rights.
Supernatural thriller Voice From The Stone will star Emilia Clarke as a nurse who cares for a boy who lives alone with his father in a haunted manor in Tuscany following the untimely death of his mother. Production in Italy is scheduled for this month and Dean Zanuck and Stefano Gallini-Durante produce.
“Jae-woo’s previous experience in sales and acquisitions at 9ers Entertainment, where she handled a number of high profile films, will be a greatly valued asset not only to our company, but to our international partners,” said Anisi. “I look forward to collaborating with her on our growing slate of projects.”
The 13 Films slate includes crime thriller Manhattan Nocturne starring Adrien Brody as well as rom-com Take Care starring Leslie Bibb and Thomas Sadoski and Very Good Girls with Dakota Fanning, Elizabeth Olsen, Peter Sarsgaard and Demi Moore.
Sales-finance company 13 Films has signed on to co-finance and handle international sales and will introduce the title to foreign buyers at the upcoming American Film Market. Producers will retain U.S. rights.
Dean Zanuck and Stefano Gallini-Durante are producing and Eric D. Howell is directing from Andrew Shaw’s script, based on Silvio Raffo’s Italian-language novel “La Voce Della Pietra.”
Principal photography starts this month in Italy in Howell’s feature film directorial debut. Tannaz Anisi, president of 13 Films, is exec producing.
Clarke plays a solemn nurse drawn to aid a young boy named Jakob who has fallen silent since the untimely death of his mother nearly a year ago. The boy lives with his father (Csokas) in a massive stone manor in Tuscany and seems to be under the spell of a malevolent force trapped within the stone walls.