StudioCanal to co-finance 'Llewyn Davis'

StudioCanal originates aboard to co-finance and handle worldwide sales for "Inside Llewyn Davis," an authentic script through the Coen siblings. Scott Rudin will produce, while Robert Graf, who most lately professional created "Paul" and also the Coen brothers' "True Grit," will professional produce. "Llewyn" centers around Llewyn Davis' struggles like a folk music performer throughout the genre's sixties heyday in New You are able to City. Pic would mark the 3rd team-up for that quartet, all whom worked with on "True Grit" and "No Country for Old Males." A week ago, StudioCanal clicked up French distribution privileges to Rudin's "Moonrise Kingdom" starring Erectile dysfunction Norton, Bruce Willis, Bill Murray and Tilda Swinton and directed by Wes Anderson. "Llewyn" filmmakers haven't yet set a distributor for that drama. UTA reps Graf and also the Coens. Contact Rachel Abrams at Rachel.Abrams@variety.com

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Page Eight

Johnny Worricker (Bill Nighy) is really a lengthy-serving MI5 officer. His boss and closest friend Benedict Baron (Michael Gambon) dies all of a sudden, abandoning him an inexplicable file, threatening the soundness from the organization. Meanwhile, a apparently chance encounter with Johnny's striking next-door neighbor and political activist Nancy Pierpan (Rachel Weisz) appears too good to be real. Johnny needs just to walk from his job, after which from his identity to discover the reality. Occur London and Cambridge, PAGE EIGHT is really a contemporary spy film for that BBC, which addresses intelligence issues and moral problems peculiar towards the new century.

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Mike Fleiss Scares Up Pointing Debut, Joining With Fright Maven Steven Schneider

EXCLUSIVE: After making his pointing debut about the documentary God Bless Ozzy Osbourne, Mike Fleiss makes an offer to create his narrative pointing debut with an untitled low-budget horror film. He's joined about the project with Steven Schneider, producer from the Paranormal Activity films and Insidious. Fleiss, whose documentary opens now, has certainly acquired experience of making low-cost/high-gross genre films. He would be a producer on Hostel and Texas Chainsaw Massacre, and the latest, Shark Evening three dimensional, opens in nine days. Fleiss can also be the television producer behind The Bachelor, The Bachelorette along with other reality series. The Fleiss-Schneider film is referred to in my experience like a large idea having a low cost, which appears to become the easiest method to make genre nowadays. It’s being packed and will also be offered by WME Global to begin production by year’s finish. Fleiss can also be focusing on a story film according to dolphin activist Richard O’Barry. He was the hero from the Cove, the shocking documentary that discreetly shot the carnage inside a cove within the small former whaling village of Taijii. Anglers yearly herd 1000's of whales in to the cove, and slaughter these questions craze that really helps make the waters run bloodstream red-colored. The film produced a worldwide uproar. WME Global will package that film like a follow-up film for Fleiss to direct.

First Run takes Colby's CIA story

"The Guy Nobody Understood: Looking for My Dad, CIA Spymaster William Colby"First Run Features has acquired U.S. privileges to Carl Colby's doc "The Guy Nobody Understood: Looking for My Dad, CIA Spymaster William Colby" for release beginning the following month. Colby's film examines the career of his late father, an old director from the CIA, through archival footage, photos and interviews with politicos including Jesse Rumsfeld and James Schlesinger in addition to journos Bob Woodward and Seymour Hersh. Created by Jedburgh Films, Act 4 Entertainment's David Manley and Guggenheim Prods.' Sophistication Guggenheim, "The Guy Nobody Understood" bows in Gotham on Sept. 23, having a limited national rollout to follow along with in October. Doc will join a roster of latest releases from First Run which includes "Nobleman of Pastry," "Crude" and "Making the Boys."

In the center of Nobody

A Only for Laughs Festival presentation of the play in a single act by Shenoah Allen, Mark Chavez. Directed by Shenoah Allen, Mark Chavez. With: Shenoah Allen, Mark Chavez.Two chairs, two pairs of pajamas and 2 extremely creative sketch artists alllow for a surreal, 90-minute trip with the outer limits of comedy within the Pajama Men's "In the center of Nobody.Inch What starts as a number of hilariously disconnected, apparently nonsensical bits including time travel, space aliens and sundry achievements of derring-do suddenly weaves together right into a single psychologically satisfying narrative as Shenoah Allen and Mark Chavez play all within their elaborate ensemble, an outbreak attraction at Montreal's Only for Laughs comedy fest that feels ripe for restaging between a family room to Carnegie Hall. Without any props with no costumes beyond their signature slumberwear, the Pajama Males -- Allen, who's just like a Swiss Military knife of limitless impressions, and elastic-limbed, vaguely Harpo Marx-searching Chavez -- pantomime their way via a dizzying variety of silly figures, supported by minimal mood cues from music performer Kevin Hume. Their inventions vary from a benevolent, jive-speaking Ice Animal to some saloon filled with tough-guy cowboys (one bets his wife on the presence of aliens, that another quips, "I call at your wife and lift your childrenInch). A few of the bits memorably stand by themselves, like a loony marionette routine, while some resurface with growing hilarity because the show originates. Think about the South American "givitumi bird," which makes its title making off-color noises better suitable for the company finish of the 1-900 call, or perhaps an alien whose temple includes a mind of their own. Both lend themselves to some level of ad libbing, which provides the show an active, off-the-cuff energy and guarantees that no two performances would be the same. In the beginning, attempting to stick to the duo's loosely structured antics feels as though funnel-surfing between classic radio plays, because the comics duck between old-timey genres with uncanny alacrity: One moment, we are watching a tender parlor scene where a gentleman explorer, preventing to go to his wife and newborn boy within the hospital, announces he can not be fenced-in (Allen plays both mother and child) the following, we have been taken to a different dimension, where an Owen Wilson-sounding adventurer disembarks from his spacecraft, simply to find yourself in trouble settling parking costs having a sarcastic robot. Roughly an hour or so in, however, a typical thread emerges -- much more of a slippery yarn, really -- which has something related to an intergalactic effort to thwart the invention of your time travel. This is an inspired device for this type of freewheeling show, one which easily ties together the majority of the loose finishes. The Pajama Males have clearly sitting through enough cookie-cutter serials to recognize in which the payback goes, getting the story's absurd father-boy relationship ("I never understood my dad. He died before I had been created," Chavez quips) towards the forefront just like the production reaches its dizzying climax. Ultimately, the very best joke is always that they have made us care.Original music, Kevin Hume. Examined This summer 29, 2011. Running time: one hour, 38 MIN. Contact Peter Debruge at peter.debruge@variety.com

Disney exec: Studios should lean on tentpoles

In a talk at the Siggraph conference Sunday, Walt Disney Animation Studios' chief technical officer laid out the thinking behind the studio's feature strategy. Bottom line: The average number of viewers per release is falling, and studios need to fight that trend with tentpoles.The number of tickets sold domestically, Andy Hendrickson said, is roughly flat since 2005. But with the exception of a drop after the 2008 financial crisis, the number of titles released has grown considerably. Even that drop-off only took the number of 2010 tiles back to 2006 levels. Therefore the average number of viewers per release is falling. "Profit equals the ability to capture more than the average share of viewers," he said. Hendricks also said that while the market for homevideo not shrunk, and revenues from streaming are the same as those the industry saw from VHS rentals. The high-revenue DVD era between VHS and streaming is looking like the aberration. The equation for studios, according to Hendrickson, is: Declining home profit + the need for more viewers = focus on tentpole films. "A tentpole film is one where you can seed the desire to see the film to everyone in every distribution channel. It's the only kind of film you can spend $100 million marketing," he said. The tentpole strategy is something new for Disney, he said, and he's seeing it spread to other studios. Hendrickson's talk was mainly focused on solving problems in digital production on tentpoles, but he began with an "Econ 101" presentation on the movie business. "People say 'It's all about the story,'" said Hendrickson. "When you're making tentpole films, bullshit." Hendrickson showed a chart of the top 12 all-time domestic grossers, and noted every one is a spectacle film. Of his own studio's "Alice in Wonderland," which is on the list, he said "The story isn't very good, but visual spectacle brought people in droves. And Johnny Depp didn't hurt."Visual spectacle, he said, drives attendance in a film's first few weekends. And unlike years past when a movie like "The Lion King" might stay in theaters as long as a year, almost all movies are out of theaters quickly now. "Once you're out of theaters your maximum profit potential is over," he said. "Tentpole films are here to stay," he said, with one more warning for the graphics pros in his audience: "Upcoming schedules are short and shorter." Contact David S. Cohen at david.cohen@variety.com

San shao ye de jian

This martial arts spectacular showcases 20-year-old Erh Tung-sheng (a.k.a. Derek Yee). Even Variety noted: "Erh's charismatic screen presence should take him to superstardom like his older brother, David Chiang." The prediction proved correct, and his performance as ace swordsman Third Master is just what any producer would want. He fights evil, saves damsels in distress (including a kindhearted prostitute played by Chow Yun-fat's first wife, Yu An-an), and duels rival swordsmen to the, well, death.