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A former Covid-19 compliance supervisor for Dexter: New Blood is suing Paramount Global, alleging she was hindered from doing her job and ultimately fired to keep the production on track.
In a lawsuit filed on Thursday in New York federal court, Jennifer Lyon says she was excluded from meetings, provided minimal resources and undermined when she raised Covid compliance concerns in an intentional effort to obstruct her attempts to follow virus protocols. While she was told she had far-reaching authority that extended to halting production, she claims she actually had a toothless position with little power.
Lyon, who has worked on several big-budget series filmed during the pandemic, according to the complaint, made accusations that the Dexter production and — in her view — others like it subverted Covid protocols: Staff compliance departments with incompetent employees and hamstring qualified workers by diminishing their authority,...
A former Covid-19 compliance supervisor for Dexter: New Blood is suing Paramount Global, alleging she was hindered from doing her job and ultimately fired to keep the production on track.
In a lawsuit filed on Thursday in New York federal court, Jennifer Lyon says she was excluded from meetings, provided minimal resources and undermined when she raised Covid compliance concerns in an intentional effort to obstruct her attempts to follow virus protocols. While she was told she had far-reaching authority that extended to halting production, she claims she actually had a toothless position with little power.
Lyon, who has worked on several big-budget series filmed during the pandemic, according to the complaint, made accusations that the Dexter production and — in her view — others like it subverted Covid protocols: Staff compliance departments with incompetent employees and hamstring qualified workers by diminishing their authority,...
- 10/28/2022
- by Winston Cho
- The Hollywood Reporter - Movie News
After starring in director Hal Hartley's hits such as The Unbelievable Truth and Trust in the early '90s, Adrienne Shelly became known as the original indie queen and gained a huge fan following. Driven to do even more in the film world, she began writing her own screenplays and directing her own movies, including Waitress, which became a hit 2007 movie and is now a smash musical on Broadway - nominated for four Tony Awards. Even though Shelly was happily married to marketing company owner Andy Ostroy, 56, and had a daughter she adored, Sophie, now 12, the film and the...
- 5/7/2016
- by K.C. Baker, @kcbaker77777
- PEOPLE.com
After starring in director Hal Hartley's hits such as The Unbelievable Truth and Trust in the early '90s, Adrienne Shelly became known as the original indie queen and gained a huge fan following. Driven to do even more in the film world, she began writing her own screenplays and directing her own movies, including Waitress, which became a hit 2007 movie and is now a smash musical on Broadway - nominated for four Tony Awards. Even though Shelly was happily married to marketing company owner Andy Ostroy, 56, and had a daughter she adored, Sophie, now 12, the film and the...
- 5/7/2016
- by K.C. Baker, @kcbaker77777
- PEOPLE.com
Check out Alicia Silverstone and Krysten Ritter in these new movie images from Amy Heckerling's Vamps comedy which opens November 2nd via Anchor Bay Films. Helmed and scripted by Heckerling, the story follows beautiful vampires Stacy (Ritter) and Goody (Silverstone) who have been enjoying the good life in New York. As upstanding, politically correct Extended Life Forms (ELFs), the pair fit twelve-step “Sanguines Anonymous” meetings to help curb the temptation of human blood in between their clubbing and dating schedules. When love steals into each of their lives, the pair’s destiny is set on a new course and they must make a choice that will jeopardize their immortality—and maybe much more. Also in the cast are Dan Stevens, Richard Lewis, Sigourney Weaver, Wallace Shawn, Justin Kirk and Malcolm McDowell. The comedy's produced by Maria Teresa Arida, Adam Brightman, Stuart Cornfeld, Molly Hassell and Lauren Versel.
- 9/20/2012
- Upcoming-Movies.com
Check out Alicia Silverstone and Krysten Ritter in these new movie images from Amy Heckerling's Vamps comedy which opens November 2nd via Anchor Bay Films. Helmed and scripted by Heckerling, the story follows beautiful vampires Stacy (Ritter) and Goody (Silverstone) who have been enjoying the good life in New York. As upstanding, politically correct Extended Life Forms (ELFs), the pair fit twelve-step “Sanguines Anonymous” meetings to help curb the temptation of human blood in between their clubbing and dating schedules. When love steals into each of their lives, the pair’s destiny is set on a new course and they must make a choice that will jeopardize their immortality—and maybe much more. Also in the cast are Dan Stevens, Richard Lewis, Sigourney Weaver, Wallace Shawn, Justin Kirk and Malcolm McDowell. The comedy's produced by Maria Teresa Arida, Adam Brightman, Stuart Cornfeld, Molly Hassell and Lauren Versel.
- 9/20/2012
- Upcoming-Movies.com
Poster 2 has arrived for Amy Heckerling's Vamps romantic comedy starring Alicia Silverstone and Krysten Ritter, also with Sigourney Weaver, Dan Stevens, Richard Lewis, Wallace Shawn, Justin Kirk and Malcolm McDowell. The Anchor Bay Films release finds theaters on November 2nd, produced by Maria Teresa Arida, Adam Brightman, Stuart Cornfeld, Molly Hassell and Lauren Versel. Beautiful vampires Stacy (Krysten Ritter) and Goody (Alicia Silverstone) have been enjoying the good life in New York. As upstanding, politically correct Extended Life Forms (ELFs), the pair fit twelve-step “Sanguines Anonymous” meetings to help curb the temptation of human blood in between their clubbing and dating schedules.
- 9/12/2012
- Upcoming-Movies.com
Poster 2 has arrived for Amy Heckerling's Vamps romantic comedy starring Alicia Silverstone and Krysten Ritter, also with Sigourney Weaver, Dan Stevens, Richard Lewis, Wallace Shawn, Justin Kirk and Malcolm McDowell. The Anchor Bay Films release finds theaters on November 2nd, produced by Maria Teresa Arida, Adam Brightman, Stuart Cornfeld, Molly Hassell and Lauren Versel. Beautiful vampires Stacy (Krysten Ritter) and Goody (Alicia Silverstone) have been enjoying the good life in New York. As upstanding, politically correct Extended Life Forms (ELFs), the pair fit twelve-step “Sanguines Anonymous” meetings to help curb the temptation of human blood in between their clubbing and dating schedules.
- 9/12/2012
- Upcoming-Movies.com
Director Amy Heckerling reteams with actress Alicia Silverstone for the upcoming comedy Vamps. Previously these two filmmakers worked together on Clueless (1995), another comedy. This time out, Silverstone plays Goody, a vampire playing it straight. Goody and Stacy forgo a life of feeding on blood for love, when the New York City dating life is more tempting than a night living in the dark. Recently, this production completed filming and here is your early look at the film's cast and latest axe-grinding photo.
Release Date: 2012.
Director/writer: Amy Heckerling.
Producers: Maria Teresa Arida, James Belfer, Adam Brightman, Stuart Cornfeld, Peter Fruchtman, Marek Gabryjelski, Molly Hassell , John Jencks, Lee Kramer, Julie Kroll, Brock Laborde, Kevin Ragsdale, Anna Rozalska, Mike Shevell and Stanislaw Tyczynski.
Cast: Alicia Silverstone, Krysten Ritter, Sigourney Weaver, Dan Stevens, Richard Lewis, Wallace Shawn, Justin Kirk, Malcolm McDowell, Zak Orth, Marilu Henner, Scott Thomson, Todd Barry, Kristen Johnston, and Meredith Scott Lynn.
Release Date: 2012.
Director/writer: Amy Heckerling.
Producers: Maria Teresa Arida, James Belfer, Adam Brightman, Stuart Cornfeld, Peter Fruchtman, Marek Gabryjelski, Molly Hassell , John Jencks, Lee Kramer, Julie Kroll, Brock Laborde, Kevin Ragsdale, Anna Rozalska, Mike Shevell and Stanislaw Tyczynski.
Cast: Alicia Silverstone, Krysten Ritter, Sigourney Weaver, Dan Stevens, Richard Lewis, Wallace Shawn, Justin Kirk, Malcolm McDowell, Zak Orth, Marilu Henner, Scott Thomson, Todd Barry, Kristen Johnston, and Meredith Scott Lynn.
- 8/25/2011
- by noreply@blogger.com (Michael Allen)
- 28 Days Later Analysis
By now the phenomenon of a director remaking one of his own movies is hardly novel.
Alfred Hitchcock made two versions of The Man Who Knew Too Much, and Frank Capra turned Lady for a Day into the more lavish Pocketful of Miracles.
There even are cases of foreign directors helming the American remakes of their own hit movies. Francis Veber directed both the original French version of Les Fugitifs and the Hollywood version, Three Fugitives, with Nick Nolte and Martin Short.
But I'm not sure there has ever been anything comparable to the new version of Funny Games, in which Austrian director Michael Haneke has produced a shot-for-shot replica of his 1997 German-language movie.
Some will question whether we needed even one version of this unsavory story. No doubt Haneke would argue that the original had such a limited audience in America that a remake starring Oscar nominees Naomi Watts and Tim Roth, along with Michael Pitt, will bring the story to lots of new viewers. But does this exercise in sadism and psychological torture deserve a larger audience, or any audience at all?
That point will be argued by critics, though there's no disputing the fact that this film, like the original, is compelling and exceptionally well acted. It probably will develop a cult following, like all of Haneke's work.
Ann (Watts), her husband George (Roth), and their son Georgie (Devon Gearhart) arrive at their secluded vacation home on Long Island in the movie's opening scene. As they are settling in, they are greeted by two polite but slightly creepy young men (Pitt, Brady Corbet), who claim to be visiting one of their neighbors and need to borrow some eggs.
The interlopers, who call themselves Paul and Peter, quickly insinuate themselves into the household, incapacitate George, and hold the family captive as they initiate a series of increasingly sadistic games. The tension mounts as Georgie and Ann try to escape, which only stokes the cruelty of their captors. Haneke keeps the most horrific violence offscreen, but that does not mute the impact of these degrading and ruthless exercises.
Viewers who hope to glean some sociological or psychological insights will be disappointed. At one point Paul gives a lengthy, completely fictitious profile of his cohort, just to mock those who seek an explanation for such violent antisocial behavior. The two boys dressed in white are meant to be evil incarnate -- motiveless, unfathomable, inescapable.
The only comprehensible comment that the film makes is about itself and the role of cinema in encouraging voyeurism and tolerance for violence. (This theme also was at the heart of Haneke's most acclaimed film, Cache.)
There's an intriguing moment, identical in both the Austrian and American films, in which Paul uses a TV remote control to rewind the action we have seen and replay a different version. Even though the director might want us to contemplate the audience's role in sanctioning violence, he can't escape the whiff of exploitation that infects both movies.
Still, this version, like the earlier one, is skillfully executed. Roth doesn't match the gravitas of the late Ulrich Muhe, who played the husband in the 1997 film, but he's affecting. Watts is superb in conveying the emotional anguish of her character. Pitt demonstrates his versatility with an electrifying portrayal of the sinister, soulless Paul. The only weak link in the cast is Corbet, who was convincing in more sympathetic roles in "thirteen" and Mysterious Skin, but doesn't exude enough menace as Pitt's baby-faced accomplice.
Cinematographer Darius Khondji gives an ominous edge to the sun-dappled locations, which look remarkably like the settings in the European film. Even the music selections are virtually identical in the two films. Perhaps the best way to appreciate the picture, its few intellectual pretensions notwithstanding, is as a classy horror film with a particularly nasty edge. It's not exactly entertainment, but it casts a poisonous spell.
FUNNY GAMES U.S.
Warner Independent Pictures
Celluloid Dreams, Halcyon Pictures, Tartan Films, X-Filme International
Credits:
Screenwriter-director: Michael Haneke
Producers: Chris Coen, Hamish McAlpine, Hengameh Panahi, Christian Baute, Andro Steinborn
Executive producers: Naomi Watts, Philippe Aigle, Carole Siller, Douglas Steiner
Director of photography: Darius Khondji
Production designer: Kevin Thompson
Co-producers: Andrea Occhipinti, Rene Bastian, Linda Moran, Adam Brightman, Jonathan Schwartz
Costume designer: David Robinson
Editor: Monika Willi
Cast:
Ann: Naomi Watts
George: Tim Roth
Paul: Michael Pitt
Peter: Brady Corbet
Georgie: Devon Gearhart
Fred: Boyd Gaines
Betsy: Siobhan Fallon Hogan
Running time -- 110 minutes
MPAA rating: R...
Alfred Hitchcock made two versions of The Man Who Knew Too Much, and Frank Capra turned Lady for a Day into the more lavish Pocketful of Miracles.
There even are cases of foreign directors helming the American remakes of their own hit movies. Francis Veber directed both the original French version of Les Fugitifs and the Hollywood version, Three Fugitives, with Nick Nolte and Martin Short.
But I'm not sure there has ever been anything comparable to the new version of Funny Games, in which Austrian director Michael Haneke has produced a shot-for-shot replica of his 1997 German-language movie.
Some will question whether we needed even one version of this unsavory story. No doubt Haneke would argue that the original had such a limited audience in America that a remake starring Oscar nominees Naomi Watts and Tim Roth, along with Michael Pitt, will bring the story to lots of new viewers. But does this exercise in sadism and psychological torture deserve a larger audience, or any audience at all?
That point will be argued by critics, though there's no disputing the fact that this film, like the original, is compelling and exceptionally well acted. It probably will develop a cult following, like all of Haneke's work.
Ann (Watts), her husband George (Roth), and their son Georgie (Devon Gearhart) arrive at their secluded vacation home on Long Island in the movie's opening scene. As they are settling in, they are greeted by two polite but slightly creepy young men (Pitt, Brady Corbet), who claim to be visiting one of their neighbors and need to borrow some eggs.
The interlopers, who call themselves Paul and Peter, quickly insinuate themselves into the household, incapacitate George, and hold the family captive as they initiate a series of increasingly sadistic games. The tension mounts as Georgie and Ann try to escape, which only stokes the cruelty of their captors. Haneke keeps the most horrific violence offscreen, but that does not mute the impact of these degrading and ruthless exercises.
Viewers who hope to glean some sociological or psychological insights will be disappointed. At one point Paul gives a lengthy, completely fictitious profile of his cohort, just to mock those who seek an explanation for such violent antisocial behavior. The two boys dressed in white are meant to be evil incarnate -- motiveless, unfathomable, inescapable.
The only comprehensible comment that the film makes is about itself and the role of cinema in encouraging voyeurism and tolerance for violence. (This theme also was at the heart of Haneke's most acclaimed film, Cache.)
There's an intriguing moment, identical in both the Austrian and American films, in which Paul uses a TV remote control to rewind the action we have seen and replay a different version. Even though the director might want us to contemplate the audience's role in sanctioning violence, he can't escape the whiff of exploitation that infects both movies.
Still, this version, like the earlier one, is skillfully executed. Roth doesn't match the gravitas of the late Ulrich Muhe, who played the husband in the 1997 film, but he's affecting. Watts is superb in conveying the emotional anguish of her character. Pitt demonstrates his versatility with an electrifying portrayal of the sinister, soulless Paul. The only weak link in the cast is Corbet, who was convincing in more sympathetic roles in "thirteen" and Mysterious Skin, but doesn't exude enough menace as Pitt's baby-faced accomplice.
Cinematographer Darius Khondji gives an ominous edge to the sun-dappled locations, which look remarkably like the settings in the European film. Even the music selections are virtually identical in the two films. Perhaps the best way to appreciate the picture, its few intellectual pretensions notwithstanding, is as a classy horror film with a particularly nasty edge. It's not exactly entertainment, but it casts a poisonous spell.
FUNNY GAMES U.S.
Warner Independent Pictures
Celluloid Dreams, Halcyon Pictures, Tartan Films, X-Filme International
Credits:
Screenwriter-director: Michael Haneke
Producers: Chris Coen, Hamish McAlpine, Hengameh Panahi, Christian Baute, Andro Steinborn
Executive producers: Naomi Watts, Philippe Aigle, Carole Siller, Douglas Steiner
Director of photography: Darius Khondji
Production designer: Kevin Thompson
Co-producers: Andrea Occhipinti, Rene Bastian, Linda Moran, Adam Brightman, Jonathan Schwartz
Costume designer: David Robinson
Editor: Monika Willi
Cast:
Ann: Naomi Watts
George: Tim Roth
Paul: Michael Pitt
Peter: Brady Corbet
Georgie: Devon Gearhart
Fred: Boyd Gaines
Betsy: Siobhan Fallon Hogan
Running time -- 110 minutes
MPAA rating: R...
- 3/10/2008
- The Hollywood Reporter - Movie News
This review was written for the theatrical release of "I Think I Love My Wife".In "I Think I Love My Wife", Chris Rock does something entirely unexpected. He isn't funny.
No doubt Rock -- who directed, co-wrote, co-produced and stars in the comedy -- is trying to stretch. He is not thoroughly convincing as a buppie, married with children, but you would feel much better about the role if his mischievous sense of humor had come along. When Edward Herrmann has the most amusing line, something is seriously wrong.
Playing a henpecked, straightforward investment banker unable to make any move whatsoever with a gorgeous and willing dream girl is not what Chris Rock's fan base will expect. Again, if he were funny, that might not matter. Because he is not, boxoffice for this Fox Searchlight release might suffer.
Rock insists that his film is based on the last film of Eric Rohmer's Six Moral Tales, "Chloe in the Afternoon", a French New Wave film made 35 years ago. Actually all he borrows is the premise: A happily married, bourgeois businessman daydreams about other women but has no intention of following through on any of these afternoon delights. Then an old friend, a former girlfriend of a buddy from the past, drops by his office with seduction on her mind.
There are a couple of odds things even about how the premise develops in this movie, however. For one, if Rock's Richard Cooper is as happily married as he says he is, why does wife Brenda (Gina Torres) refuse to have sex with him, and why is the couple in therapy? Also, what kind of "old friend" is Kerry Washington's Nikki? When Richard was sowing his wild oats as a young man in his 20s, Nikki would have been in junior high.
But never mind the details; let's go looking for laughs.
After re-entering his life, Nikki appears at Richard's office at all hours in outfits more appropriate for nightclubbing. Before you know it, he goes AWOL on clients and associates as Nikki leads him around town by his, um, nose. But they remain just friends. So far, all situation no comedy.
One night, Nikki persuades Richard to slip away from home for a rendezvous at a nightclub. She never turns up, and he gets stoned with a couple of salesgirls. No yucks here.
Another time, Nikki forces Richard to accompany her on a shuttle flight to D.C. to sneak her things out of the apartment of a soon-to-be-ex-boyfriend. The boyfriend arrives home unexpectedly, smacks Richard around, the police arrive, and shots are fired. No laughs here. Worse, there are no repercussions: Richard and Nikki slip out the door without the police noticing they fled the scene.
The sole dramatic tension in the story stems from the will-they-or-won't-they question that hovers over the Richard-Nikki relationship. Few are going to care as character motivation is seriously lacking in a script Rock wrote with Louis C.K.
Why don't the married couple have sex? Brenda seems to love her man, and she certainly fights to keep him. Why after all these years does Nikki turn up? She seems to have nothing more on her mind than playing him for all he's worth. For that matter, why does Richard seem terrified of all women, even his secretary?
The script could have developed genuine inner conflict in its hero -- a family man devoted to his young children but with a frigid wife and possibly a hot mistress -- but never does. All of which leaves the three main actors playing very tentative characters. There is clarity with two of Rock's office comrades: Steve Buscemi as a womanizing married man and Herrmann as a stuffy boss. But these fine character actors are wasted on such lightweight roles.
As a director, Rock has little visual flair, so the film looks clumsy and stilted. Solid location work in and around New York does give designer Sharon Lomofsky something to work with while Suzanne McCabe has fun with all the revealing and stylish costumes for Washington.
I THINK I LOVE MY WIFE
Fox Searchlight
Fox Searchlight and UTV Motion Pictures present a Zahrlo production
Credits:
Director: Chris Rock
Screenwriters: Chris Rock, Louis C.K.
Based on a film by: Eric Rohmer
Producers: Chris Rock, Lisa Stewart
Executive producers: Adam Brightman, Ronnie Screwvala
Director of photography: William Rexer II
Production designer: Sharon Lomofsky
Music: Marcus Miller
Co-producer: Zarina Screwvala
Costume designer: Suzanne McCabe
Editor: Wendy Greene Bricmont
Cast:
Richard: Chris Rock
Nikki: Kerry Washington
Brenda: Gina Torres
George: Steve Buscemi
Mr. Landis: Edward Herrmann
Mary: Welker White
Running time -- 94 minutes
MPAA rating: R...
No doubt Rock -- who directed, co-wrote, co-produced and stars in the comedy -- is trying to stretch. He is not thoroughly convincing as a buppie, married with children, but you would feel much better about the role if his mischievous sense of humor had come along. When Edward Herrmann has the most amusing line, something is seriously wrong.
Playing a henpecked, straightforward investment banker unable to make any move whatsoever with a gorgeous and willing dream girl is not what Chris Rock's fan base will expect. Again, if he were funny, that might not matter. Because he is not, boxoffice for this Fox Searchlight release might suffer.
Rock insists that his film is based on the last film of Eric Rohmer's Six Moral Tales, "Chloe in the Afternoon", a French New Wave film made 35 years ago. Actually all he borrows is the premise: A happily married, bourgeois businessman daydreams about other women but has no intention of following through on any of these afternoon delights. Then an old friend, a former girlfriend of a buddy from the past, drops by his office with seduction on her mind.
There are a couple of odds things even about how the premise develops in this movie, however. For one, if Rock's Richard Cooper is as happily married as he says he is, why does wife Brenda (Gina Torres) refuse to have sex with him, and why is the couple in therapy? Also, what kind of "old friend" is Kerry Washington's Nikki? When Richard was sowing his wild oats as a young man in his 20s, Nikki would have been in junior high.
But never mind the details; let's go looking for laughs.
After re-entering his life, Nikki appears at Richard's office at all hours in outfits more appropriate for nightclubbing. Before you know it, he goes AWOL on clients and associates as Nikki leads him around town by his, um, nose. But they remain just friends. So far, all situation no comedy.
One night, Nikki persuades Richard to slip away from home for a rendezvous at a nightclub. She never turns up, and he gets stoned with a couple of salesgirls. No yucks here.
Another time, Nikki forces Richard to accompany her on a shuttle flight to D.C. to sneak her things out of the apartment of a soon-to-be-ex-boyfriend. The boyfriend arrives home unexpectedly, smacks Richard around, the police arrive, and shots are fired. No laughs here. Worse, there are no repercussions: Richard and Nikki slip out the door without the police noticing they fled the scene.
The sole dramatic tension in the story stems from the will-they-or-won't-they question that hovers over the Richard-Nikki relationship. Few are going to care as character motivation is seriously lacking in a script Rock wrote with Louis C.K.
Why don't the married couple have sex? Brenda seems to love her man, and she certainly fights to keep him. Why after all these years does Nikki turn up? She seems to have nothing more on her mind than playing him for all he's worth. For that matter, why does Richard seem terrified of all women, even his secretary?
The script could have developed genuine inner conflict in its hero -- a family man devoted to his young children but with a frigid wife and possibly a hot mistress -- but never does. All of which leaves the three main actors playing very tentative characters. There is clarity with two of Rock's office comrades: Steve Buscemi as a womanizing married man and Herrmann as a stuffy boss. But these fine character actors are wasted on such lightweight roles.
As a director, Rock has little visual flair, so the film looks clumsy and stilted. Solid location work in and around New York does give designer Sharon Lomofsky something to work with while Suzanne McCabe has fun with all the revealing and stylish costumes for Washington.
I THINK I LOVE MY WIFE
Fox Searchlight
Fox Searchlight and UTV Motion Pictures present a Zahrlo production
Credits:
Director: Chris Rock
Screenwriters: Chris Rock, Louis C.K.
Based on a film by: Eric Rohmer
Producers: Chris Rock, Lisa Stewart
Executive producers: Adam Brightman, Ronnie Screwvala
Director of photography: William Rexer II
Production designer: Sharon Lomofsky
Music: Marcus Miller
Co-producer: Zarina Screwvala
Costume designer: Suzanne McCabe
Editor: Wendy Greene Bricmont
Cast:
Richard: Chris Rock
Nikki: Kerry Washington
Brenda: Gina Torres
George: Steve Buscemi
Mr. Landis: Edward Herrmann
Mary: Welker White
Running time -- 94 minutes
MPAA rating: R...
NEW YORK -- Art house distribution banner Avatar Films has zeroed in on a deal to acquire domestic rights to the feature Zero Day by first-time feature helmer Ben Coccio. Also penned and produced by Coccio, Zero revolves around two alienated teens -- calling themselves the Army of Two -- who are determined to carry out a violent attack on their high school. The project features a cast of nonprofessional actors. Avatar has targeted Sept. 3 as the launch date for Zero's platform rollout. The film was executive produced by Adam Brightman and Richard Abramowitz. Zero won top honors at various film festivals this year, including the inaugural Las Vegas-based Had to Be Made Film Festival, the Florida Film Festival and Park City's Slamdunk Film Festival. The Zero deal was brokered for Avatar by co-presidents Keith Icove and Jason Leaf. Brightman and Abramowitz repped the film. Avatar's releases include last year's Kandahar, by Mohsen Makhmalbaf.
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