ThinkFilm Tagged Articles at Cinematical

By now, we've all heard about the woes of THINKFilm, and how it has affected a myriad of filmmakers, from Alex Gibney suing over the company's treatment of Taxi to the Darkside, to David O. Russel's Nailed getting nailed over and over again. If you missed some of this, click here.

Now THINKFilm head David Bergstein has talked about the drama with The Hollywood Reporter, and he seems to be on a different planet than the rest of us. Check out the following quotes:

"There is always an adjective that precedes us: 'Beleaguered,' 'financially distressed,' and none of these people know anything."

"Our business plan is not so much about the movie business. It's really to build a global digital distribution business. It's based on the expectation that in the not too distant future most content will be delivered digitally and on-demand."

"Some of what is out there is true. The vast majority is not true. And for the stuff that is true, my answer is 'So what? So what if X, Y, or Z might be owed money?"

What a stellar attitude to have. I imagine those filmmakers and films attached to THINK are feeling all sorts of special and secure with that attitude guiding them. Check out the THR link for more particulars on the insanity.

Earlier today, Peter wrote up a piece on movie mogul Harvey Weinstein explaining how The Weinstein Company created their division Third Rail as a dumping ground for movies they feel have only "ancillary value." Harvey and his younger brother and business partner, Bob, have been under a bit of an attack since ditching Disney/Miramax for their own shingle back in 2005, with a lot of sharks swimming the waters surrounding them, just waiting for enough money to bleed through the Weinstein's fingers.

An article over at the Sunday Telegraph by Tom Teodorczuk goes into some fairly good detail about the troubles facing the beleagured brothers. You can read the full piece yourself to see his analysis; suffice it to say that the Weinsteins have yet to bring that old Miramax magic to their independent shingle, probably for a variety of reasons, not the least of which include the troubles facing the indie film world generally. As Hollywood Elsewhere's Jeff Wells, quoted in the piece, notes, "The Weinsteins have suffered from the same pressures affecting the indie film sector that everyone else faces. There is a glut of product owing to hedge fund firms now investing in films."

There seems to be no end to THINKFilm's monetary problems, which have plagued not only the company, but also the productions that have been picked up by the ailing business. But at least one of them has found a way out.

The Hollywood Reporter posts that Momma's Man has received a handy life preserver from the likes of Kino International, an independent film distributor. The film, which was acquired by THINKFilm back in March (an acquisition announcement was made, but producers say that negotiations were ongoing), had premiered at Sundance this year.

Momma's Man, which sounds reminiscent of Full Grown Men, focuses on a man (Matt Boren) who decides to escape from his life. During a business trip to New York, the guy visits his parents, "and decides to stay, leaving his wife and child behind." Filmmaker Azazel Jacobs even cast his own parents in the film -- underground filmmaker Ken Jacobs and Flo Jacobs.

The film will get a limited release in New York on August 22, and LA on September 5, before a DVD release in early 2009.* Now I can only hope the rest of the pictures find similar luck. The company might be in trouble monetarily, but they know how to pick interesting features.

*Assumed 2009, as THR says "early 2008 DVD release."

Last week, indieWIRE ran a provocative piece by Anthony Kaufman about the financial woes of THINKfilm, one of my favorite indie distributors. Kaufman detailed the cash flow problems at THINKfilm, which were causing acrimony between the distrib and many of its filmmakers, who were alleging that the distributor hadn't paid what it owed to them, as well as to advertising companies charged with marketing films under THINKfilm's banner.

Now indieWIRE has a follow-up piece up by Eugene Hernandez, which says that director/producer Alex Gibney, whose film Taxi to the Darkside won the best documentary Oscar this year and was supposed to receive a major theatrical push by THINKfilm following its win, is seeking more than $1 million in damages from the ailing distributor.

While THINKfilm did pay the film's producers the minimums guaranteed by their contract on May 5, Gibney's complaint alleges that THINKfilm failed to disclose that it did not have the financial resources to support the film's theatrical push following its Oscar win, and "jeopardized the success of the film by failing to abide by the terms of contracts it entered into with public relations firms and advisers and failed to pay such firms for work done and expenses incurred."

It's hard to say which event in midtown Manhattan on Thursday night was cooler: New German Cinema legend Werner Herzog in conversation with director Jonathan Demme at the Times Center, or the two crazed climbers who attempted to scale the New York Times building right next door just a few hours earlier. In some ways, the two occurrences worked together: It was later announced that one of the climbers did it in order to raise awareness about global warming, a relevant issue for anyone interested in Herzog's latest film, the remarkable Antarctica odyssey Encounters at the End of the World. Like most of Herzog's documentary work, it's a brilliant amalgam of gorgeous imagery and Herzog's personal philosophies. Not a scientist himself, he spends time in their company down south, seeking to understand their behavior ("Is this a big moment?" he asks when they nonchalantly announce the discovery of a new bacterium).

Demme, admitting that he and Herzog had just met earlier in the evening, opened the conversation by reading an effusive letter to Herzog written by Roger Ebert after the critic discovered that the director dedicated Encounters to him. Herzog seemed displeased that Ebert printed the letter ("Those things should stay between two men") but had only praise for his friend. "I salute him, a good soldier of cinema," he said. "We have very few left."

It's been clear for several weeks now that the independent distribution company THINKfilm has been suffering from some money troubles. Around the time the Cannes Film Festival kicked off this month, blogger AJ Schnack assembled reports from various sources that the company owed a lot of money to many different places. Now, Nikkie Finke reports that Allied Advertising Ltd. filed a lawsuit in Los Angeles Superior Court today against THINKfilm owner David Bergstein, claiming that THINKfilm failed to pay for Allied's advertising services in a timely manner, while the distributor pretended that wasn't the case. A serious problem indeed.

It's a little unfair, however, for Allied to complain about THINKfilm's decision to continue doing what they do best -- buying films. The lawsuit says that the company embarked on a "lavish film licensing buying spree at various film festivals around the world," rather than exclusively focusing on paying off debt. It's worth noting that THINKfilm remained fairly withdrawn at Cannes this year, and while they did pick up theatrical rights for Marina Zenovich's Roman Polanski: Wanted and Desired at Sundance, the film already had a television deal in place with HBO. Meanwhile, the company has dropped Battle in Seattle, which it originally purchased at the Toronto Film Festival. The "buying spree" sounds like needless exaggeration on Allied's part. Whatever the case, given THINKfilm's track record (they did guide Ryan Gosling to his Half Nelson Oscar nod), one hopes they'll survive this nasty legal snafu.

If you had a slow Mother's Day weekend and were lurking around the net, you might have heard that David O. Russell's upcoming comedy Nailed hit another snag; this one much bigger than just an actor walking off set (a snag that was NOT because of Russell!). They were shut down by the Screen Actors Guild because they didn't have enough money to pay their actors.

You can check out the story, as it unfolded, at Nikki Finke's Deadline Hollywood Daily. Luckily, any of you who are itching to see Nailed needn't worry. Variety reports that ThinkFilm (part of Capitol Films) has resumed shooting (and will hopefully have enough cash to finish it).

But this is part of a bigger problem: Nailed wasn't the only film hit with funding issues. A number of Capitol projects have been stopped or delayed due to lack of funds. ThinkFilm failed to pay Alex Gibney his owed fees for Taxi to the Dark Side. Flicks like Bad Meat were shut down. Then She Found Me's paper ad campaign hit a snag when there was no money for ads. You know you have serious money issues when you can't even get enough for your ad campaigns.

And now they're heading to Cannes with films from The Edge of Love to The Oxford Murders. There's a lot of interesting films attached to this company, but my head has got "Another One Bites the Dust" playing for ThinkFilm and Capitol.

Thoughts?

The very last film I saw at Sundance this year, at a lively 10 p.m. screening and seated next to the dapper James Rocchi, was The Escapist. It was a perfect ending for the festival, and a great "guy movie" to boot (Rocchi and I are nothing if not burly, rugged men): Brian Cox leads a bunch of Limey blokes, including Joseph Fiennes, on a daring escape from a British prison. Familiar premise, but well executed with a few twists. Rocchi's rave review is here.

The flick was well received during its world premiere at Sundance, and yet somehow it didn't get picked up by any distributors before the fest ended. Now, finally, THINKFilm has come to the rescue. Variety reports that the distributor has paid about $1 million for the film and plans to release it in October, starting small and expanding over the course of several weeks.

Battle in Seattle has nothing to do with the Rumble in the Jungle or the Thrilla in Manila. It's also not connected to the fictional "siege of Seattle" mentioned in Children of Men. No, Battle in Seattle refers to the real-life riots that occurred in 1999 when protesters sought to stop a meeting of the World Trade Organization. Irish actor Stuart Townsend wrote and directed a dramatization of the events, it premiered at the Toronto International Film Festival -- and now Variety reports that ThinkFilm has bought the film for a cool $2 million.

Battle in Seattle stars Charlize Theron (Townsend's girlfriend), Woody Harrelson, and Ray Liotta, among quite a few others, and takes a documentary-style approach, with multiple points of view from multiple characters. We've been following the film for some time: Here are some details from a year ago; here's more casting and plot details.

ThinkFilm proved to be the big spender of this year's TIFF. I told you a few days ago about the distributor's acquisition of Helen Hunt's Then She Found Me for somewhere between $2.5 million and $3 million. Coincidentally, both films are the directorial debuts of well-known actors. Will Hunt or Townsend turn out to be the next Clint Eastwood or Robert Redford? Time will tell.

We've already told you about the first couple of deals to come out of the Toronto International Film Festival, but here's the first one with enough money changing hands for the trade publications to cite the figures.

ThinkFilm has bought U.S. rights to Then She Found Me, starring Helen Hunt, Bette Midler, Colin Firth, and Matthew Broderick, with Equinoxe Films taking Canadian rights. The total price tag, according to The Hollywood Reporter, is between $2.5 and $3 million.

Hunt directed the romantic comedy-drama, her first time in that capacity except for a few Mad About You episodes. Based on a novel by Elinor Lipman, Then She Found Me is about a woman (Hunt) who is contacted by her birth mother (Midler) just as her adoptive mother has died, her husband (Broderick) has left her, and she's met a new man (Firth).

After Mad About You ended in 1999, Hunt did a quick series of movies -- four in 2000 alone -- before taking a break. Since then, she's appeared only in Woody Allen's The Curse of the Jade Scorpion (2001), A Good Woman (2004), HBO movie Empire Falls (2005), and last year's Bobby. And it's too bad, because I really like her. I mean, who doesn't? Who doesn't like Helen Hunt?!

For that matter, we haven't seen much of Bette Midler in movies lately, either. Apart from The Stepford Wives in 2004, she hasn't been on film since 2000. That, I'm not complaining so much about.

Anyway, of course we'll keep you posted on release dates and other news as it becomes available.