Paradigm has hired Kyle Jensen as a Literary Content Agent and Jamie Kaye-Phillips as a Theatre Literary Content Agent, upping Matthew Nutty from Coordinator to Agent in the Talent department.
Additionally, Napoli Management Group, a division of Paradigm Media Entertainment, has tapped Brian Neal as an agent. A 23-year veteran of the television news industry, he’ll in his new role rep all levels of on-air talent in the national broadcast news space.
Jensen and Nutty will be based out of the agency’s Los Angeles office, with Kaye-Phillips working out of New York. Where Neal will be based is not yet clear.
The hirings follow December’s announcement that Todd Eisner, a 30-year veteran talent agent, had joined Paradigm from the now-folded A3. Over the past year, Paradigm has been staffing up with the hires of Chris Till and Neil A. Cohen, as well as internal promotions, having elevated 14 agents to Partner.
Additionally, Napoli Management Group, a division of Paradigm Media Entertainment, has tapped Brian Neal as an agent. A 23-year veteran of the television news industry, he’ll in his new role rep all levels of on-air talent in the national broadcast news space.
Jensen and Nutty will be based out of the agency’s Los Angeles office, with Kaye-Phillips working out of New York. Where Neal will be based is not yet clear.
The hirings follow December’s announcement that Todd Eisner, a 30-year veteran talent agent, had joined Paradigm from the now-folded A3. Over the past year, Paradigm has been staffing up with the hires of Chris Till and Neil A. Cohen, as well as internal promotions, having elevated 14 agents to Partner.
- 2/22/2024
- by Matt Grobar
- Deadline Film + TV
Matt Damon will join Mark Ruffalo and Missy Yager in a special benefit reading next month of Kenneth Lonergan’s This Is Our Youth, the acclaimed play that premiered Off Broadway in 1996 in a production starring Ruffalo, Yager and Josh Hamilton.
The reading will be directed by Mark Brokaw (How I Learned To Drive), who directed the original staging, on Nov. 16 at Manhattan’s Center at West Park, an Upper West Side arts facility and cultural hub that provides affordable performance, rehearsal, and event space to local artists and community members. Funds raised will benefit the Center.
The event, honoring the Center’s Founding and Current Board President Mim Warden, will kick off the Center’s new Renowned American Playwrights Showcase, a series of readings of acclaimed stage works performed predominantly by their original casts. Upcoming readings will include the works of Tony Kushner, Stephen Adly Guirgis, Suzan-Lori Parks and more.
The reading will be directed by Mark Brokaw (How I Learned To Drive), who directed the original staging, on Nov. 16 at Manhattan’s Center at West Park, an Upper West Side arts facility and cultural hub that provides affordable performance, rehearsal, and event space to local artists and community members. Funds raised will benefit the Center.
The event, honoring the Center’s Founding and Current Board President Mim Warden, will kick off the Center’s new Renowned American Playwrights Showcase, a series of readings of acclaimed stage works performed predominantly by their original casts. Upcoming readings will include the works of Tony Kushner, Stephen Adly Guirgis, Suzan-Lori Parks and more.
- 10/27/2023
- by Greg Evans
- Deadline Film + TV
Click here to read the full article.
Ahead of the 75th Tony Awards, which will be held at Radio City Music Hall on Sunday, The Hollywood Reporter gathered five of this Broadway season’s acting nominees for a conversation about the challenges and rewards of working on Broadway, generally, and specifically this season, in the middle of a global pandemic.
Two already have Tonys to their name: Australian Hugh Jackman, a best actor in a musical nominee for The Music Man, in which he plays a conman who brings trouble to small-town Iowa (the Hollywood A-lister, who played Wolverine in the X-Men film franchise, previously won for the musical The Boy from Oz in 2004 and received a special Tony in 2012); and American Mary-Louise Parker, a best actress in a play nominee for How I Learned to Drive, in which she plays a woman recounting childhood molestation at the hands of...
Ahead of the 75th Tony Awards, which will be held at Radio City Music Hall on Sunday, The Hollywood Reporter gathered five of this Broadway season’s acting nominees for a conversation about the challenges and rewards of working on Broadway, generally, and specifically this season, in the middle of a global pandemic.
Two already have Tonys to their name: Australian Hugh Jackman, a best actor in a musical nominee for The Music Man, in which he plays a conman who brings trouble to small-town Iowa (the Hollywood A-lister, who played Wolverine in the X-Men film franchise, previously won for the musical The Boy from Oz in 2004 and received a special Tony in 2012); and American Mary-Louise Parker, a best actress in a play nominee for How I Learned to Drive, in which she plays a woman recounting childhood molestation at the hands of...
- 6/8/2022
- by Scott Feinberg
- The Hollywood Reporter - Movie News
“Thank you for this work that’s just so magic and so worth it,” expressed Mary-Louise Parker when she accepted the Tony Award from presenter Gwyneth Paltrow in 2001 for her unforgettable performance in “Proof.” This year, Parker competes for the same prize for starring in the first Broadway production of Paula Vogel’s Pulitzer Prize-winning play “How I Learned to Drive” and could take home the third trophy of her career for it. Below, see a list of all five of Mary-Louise Parker’s Tony nominations and two wins.
See Mary-Louise Parker (‘How I Learned to Drive’) poised to make Tony Awards history
Parker originated the role of Li’l Bit in the original Off-Broadway production of “How I Learned to Drive” 25 years ago. This Broadway revival reunited her with costars David Morse and Johanna Day as well as director Mark Brokaw. The drama is a haunting memory play that...
See Mary-Louise Parker (‘How I Learned to Drive’) poised to make Tony Awards history
Parker originated the role of Li’l Bit in the original Off-Broadway production of “How I Learned to Drive” 25 years ago. This Broadway revival reunited her with costars David Morse and Johanna Day as well as director Mark Brokaw. The drama is a haunting memory play that...
- 6/7/2022
- by David Buchanan
- Gold Derby
Fresh off of her second Tony Award victory last year for “The Sound Inside,” Mary-Louise Parker has earned a follow-up nomination in the same category for her work in the revival of Paula Vogel’s Pulitzer Prize-winning “How I Learned to Drive.” Parker returned to the haunting piece 25 years after she originated the role Off-Broadway, reuniting with costars David Morse – who also reaped a bid – and Johanna Day, plus director Mark Brokaw.
This nomination not only celebrates her exemplary performance, but also moves Parker into an extremely exclusive list of performers who have earned at least five nominations in the Best Play Actress category. Her first bid dates back to 1990, when she contended for “Prelude to a Kiss.” Over a decade later, Parker earned her second nomination for “Proof” and went on to win the prize. In the following two decades, she earned another nom for “Reckless” in 2005 and last year for “The Sound Inside,...
This nomination not only celebrates her exemplary performance, but also moves Parker into an extremely exclusive list of performers who have earned at least five nominations in the Best Play Actress category. Her first bid dates back to 1990, when she contended for “Prelude to a Kiss.” Over a decade later, Parker earned her second nomination for “Proof” and went on to win the prize. In the following two decades, she earned another nom for “Reckless” in 2005 and last year for “The Sound Inside,...
- 5/10/2022
- by David Buchanan
- Gold Derby
The Drama Leauge announced the nominations for the 2022 Drama League Awards on Monday morning. Deneé Benton and André DeShields announced the nominees at this morning’s official event at The New York Library for the Performing Arts. The Drama League honors both Broadway and Off-Broadway productions in their annual celebration. Winners will be announced at the 88th Annual Drama League Awards, which will be held at the Ziegfeld Ballroom on Friday, May 20.
While the League doles out four production prizes, what makes them unique is their “Distinguished Performance” award. Up to fifty performers are nominated for the honor each year in a category that combines roles of all genders and sizes. An actor can only win this prize once in their career, and once they have prevailed they can not be nominated again. This year, forty three performers contend in the category.
SEE2022 Tony Awards nominations announcement moving to May 9
This year,...
While the League doles out four production prizes, what makes them unique is their “Distinguished Performance” award. Up to fifty performers are nominated for the honor each year in a category that combines roles of all genders and sizes. An actor can only win this prize once in their career, and once they have prevailed they can not be nominated again. This year, forty three performers contend in the category.
SEE2022 Tony Awards nominations announcement moving to May 9
This year,...
- 4/25/2022
- by Sam Eckmann
- Gold Derby
Twenty five years after the Off-Broadway debut of Paula Vogel’s Pulitzer Prize-winning play “How I Learned to Drive,” the contemporary American classic has at long last made its bow on Broadway. Fittingly for a memory play, the stars of that first production have returned to their roles: Mary-Louise Parker as Li’l Bit, who recalls her relationship with her predatory Uncle Peck – played by David Morse – who gave her driving lessons. The original director Mark Brokaw once again leads the production, which opened at Manhattan Theatre Club’s Friedman Theatre on April 19 for a limited run.
This long-awaited mounting of “How I Learned to Drive” earned rapturous reviews from critics. Maya Phillips (New York Times) calls the production “unforgettable” and labels it a Critic’s Pick. She credits playwright Vogel, who’s “script creates its own piercing language for assault,” and notes how despite the heaviness of the subject,...
This long-awaited mounting of “How I Learned to Drive” earned rapturous reviews from critics. Maya Phillips (New York Times) calls the production “unforgettable” and labels it a Critic’s Pick. She credits playwright Vogel, who’s “script creates its own piercing language for assault,” and notes how despite the heaviness of the subject,...
- 4/20/2022
- by David Buchanan
- Gold Derby
In the 25 years since Mary-Louise Parker and David Morse first performed Paula Vogel’s Pulitzer Prize-winning play How I Learned To Drive, the name for the disturbing process that we witness being depicted on stage has long since entered widespread usage. If audiences can now readily label what happens as “grooming,” Vogel’s emotionally complex masterwork remains as unsettling, disarmingly funny and as deeply moving as ever.
Parker and Morse, so beautifully playing the roles they originated all those years ago under the same director, Mark Brokaw, fill the larger Broadway stage – the 1997 production was produced Off Broadway – with performances not so much expanded but deepened by time. Parker’s character, in particular, is intensified by the years, as if the burden of her childhood victimization has only grown heavier in middle age, her desire to understand it unabated.
How I Learned To Drive, opening tonight in a first-rate Manhattan Theatre Club...
Parker and Morse, so beautifully playing the roles they originated all those years ago under the same director, Mark Brokaw, fill the larger Broadway stage – the 1997 production was produced Off Broadway – with performances not so much expanded but deepened by time. Parker’s character, in particular, is intensified by the years, as if the burden of her childhood victimization has only grown heavier in middle age, her desire to understand it unabated.
How I Learned To Drive, opening tonight in a first-rate Manhattan Theatre Club...
- 4/20/2022
- by Greg Evans
- Deadline Film + TV
Two decades ago Mary-Louise Parker won her first Tony Award for her enthralling performance in David Auburn’s “Proof.” Five Broadway appearances later, Parker is on the cusp of winning the second Tony of her career for her searing turn in Adam Rapp’s “The Sound Inside,” according to our exclusive Tony Awards predictions. “The Sound Inside” has six nominations, including Best Play.
Parker earned the best reviews of her stage career for “The Sound Inside,” topping even the rapturous notices she received for “Proof.” Back then, John Simon (New York Magazine) called Parker’s work in “Proof” “a performance of genius.” In his rave review of “The Sound Inside,” Jesse Green (New York Times) wrote, “Parker, never better in her 30-year stage career, has dug even deeper into Bella, treating each line as if it were an archaeological site; she builds her performance on artifacts, not theories.” Vinson Cunningham...
Parker earned the best reviews of her stage career for “The Sound Inside,” topping even the rapturous notices she received for “Proof.” Back then, John Simon (New York Magazine) called Parker’s work in “Proof” “a performance of genius.” In his rave review of “The Sound Inside,” Jesse Green (New York Times) wrote, “Parker, never better in her 30-year stage career, has dug even deeper into Bella, treating each line as if it were an archaeological site; she builds her performance on artifacts, not theories.” Vinson Cunningham...
- 9/25/2021
- by David Buchanan
- Gold Derby
The Covid-postponed Broadway premiere of How I Learned to Drive, Paula Vogel’s Pulitzer Prize-winning drama starring Mary-Louise Parker and David Morse, will begin preview performances at the Samuel J. Friedman Theatre on Tuesday, March 29, 2022, with an official opening on Tuesday, April 19.
The new dates were announced today by the Manhattan Theatre Club. The much-anticipated production will reunite Parker, Morse and director Mark Brokaw, who teamed on the original and acclaimed Off Broadway staging of the play in 1997. Parker and Morse will take on the same roles they created – an adult woman and her once-beloved uncle coming to terms with long-ago sexual molestation.
The Manhattan Theatre Club will produce the Broadway production with Daryl Roth and Cody Lassen in association with the Vineyard Theatre, where the Off Broadway production was staged in ’97.
How I Learned To Drive was in rehearsals when the industry shut down in March 2020 due to the Covid pandemic.
The new dates were announced today by the Manhattan Theatre Club. The much-anticipated production will reunite Parker, Morse and director Mark Brokaw, who teamed on the original and acclaimed Off Broadway staging of the play in 1997. Parker and Morse will take on the same roles they created – an adult woman and her once-beloved uncle coming to terms with long-ago sexual molestation.
The Manhattan Theatre Club will produce the Broadway production with Daryl Roth and Cody Lassen in association with the Vineyard Theatre, where the Off Broadway production was staged in ’97.
How I Learned To Drive was in rehearsals when the industry shut down in March 2020 due to the Covid pandemic.
- 6/7/2021
- by Greg Evans
- Deadline Film + TV
The Broadway premieres of Ruben Santiago-Hudson’s Lackawanna Blues and Paula Vogel’s How I Learned To Drive have been set for 2022 and 2021, respectively, with producers at the Manhattan Theatre Club expressing “hopes high that we will be able to return to live theatre.”
The nonprofit Mtc announced the target openings today, along with plans to present an Off Broadway production of Simon Stephens’ Morning Sun starring Edie Falco and the American premiere of Anchuli Felicia King’s Golden Shield.
Mtc artistic director Lynne Meadow said, “With hopes high that we will be able to return to live theatre, we have created a season of diverse and exciting Broadway and Off Broadway premieres and we are honored to be working with the very best of New York’s brilliant artistic community.”
Santiago-Hudson’s Lackawanna Blues, to be performed and directed by the playwright with original music by Bill Sims Jr.,...
The nonprofit Mtc announced the target openings today, along with plans to present an Off Broadway production of Simon Stephens’ Morning Sun starring Edie Falco and the American premiere of Anchuli Felicia King’s Golden Shield.
Mtc artistic director Lynne Meadow said, “With hopes high that we will be able to return to live theatre, we have created a season of diverse and exciting Broadway and Off Broadway premieres and we are honored to be working with the very best of New York’s brilliant artistic community.”
Santiago-Hudson’s Lackawanna Blues, to be performed and directed by the playwright with original music by Bill Sims Jr.,...
- 11/16/2020
- by Greg Evans
- Deadline Film + TV
Ten years ago, only two black stage directors – and no black choreographers – were hired on Broadway under the Stage Directors and Choreographers Society’s contract. During the last Broadway season, the union says, only one black director was hired under its Broadway contract, and no black choreographers.
The union, which represents some 4,300 professional stage directors and choreographers throughout the United States, said today that the time has come “to own our responsibility and use our influence to end racist policies and practices in our field.”
The Sdc is the third entertainment union this week to own up to its role in the underemployment of members of color. On Monday, in the wake of nationwide protests over racism and police brutality, leaders of the WGA West urged its members – television showrunners – “to take their share of responsibility” for the lack of diversity in writers rooms. And on that same day, the...
The union, which represents some 4,300 professional stage directors and choreographers throughout the United States, said today that the time has come “to own our responsibility and use our influence to end racist policies and practices in our field.”
The Sdc is the third entertainment union this week to own up to its role in the underemployment of members of color. On Monday, in the wake of nationwide protests over racism and police brutality, leaders of the WGA West urged its members – television showrunners – “to take their share of responsibility” for the lack of diversity in writers rooms. And on that same day, the...
- 6/18/2020
- by David Robb
- Deadline Film + TV
John McCormack, a longtime behind-the-scenes force in Off Broadway theater, died Monday, May 18, at his home in Queens, New York from complications related to Covid-19. He was 61.
McCormack’s death was announced by Off Broadway’s Intar Theatre, where he was executive director.
During a nearly 40-year career, McCormack was an influential player in New York theater, working in producing, artistic director and executive positions at such companies as Ensemble Studio Theatre, Naked Angels, the Zipper Theater, his own company All Seasons Theater, and, since 2006, Intar.
Many of the performers and writers he championed would go on to successful careers in theater, film and television. Among the artists whose careers he impacted over the years were actors Kevin Bacon, Patricia Clarkson, Rob Morrow; playwrights Warren Leight, Richard Greenberg, Lucas Hnath and Alan Zweibel; director Mark Brokaw and artistic directors Douglas Aibel, Bernard Telsey and Christopher Ashley, among many others.
“Nobody...
McCormack’s death was announced by Off Broadway’s Intar Theatre, where he was executive director.
During a nearly 40-year career, McCormack was an influential player in New York theater, working in producing, artistic director and executive positions at such companies as Ensemble Studio Theatre, Naked Angels, the Zipper Theater, his own company All Seasons Theater, and, since 2006, Intar.
Many of the performers and writers he championed would go on to successful careers in theater, film and television. Among the artists whose careers he impacted over the years were actors Kevin Bacon, Patricia Clarkson, Rob Morrow; playwrights Warren Leight, Richard Greenberg, Lucas Hnath and Alan Zweibel; director Mark Brokaw and artistic directors Douglas Aibel, Bernard Telsey and Christopher Ashley, among many others.
“Nobody...
- 6/1/2020
- by Greg Evans
- Deadline Film + TV
Another Broadway production has nixed plans for this season: The Manhattan Theater Club’s anticipated staging of Paula Vogel’s Pulitzer Prize-winning How I Learned to Drive, with Mary-Louise Parker and David Morse reprising roles they originated 23 years ago, has been postponed.
Mtc says it’s finalizing plans to mount the production during the 2020-21 season, according to a spokesperson.
The production follows other one-season postponements as well as outright cancellations.
Coronavirus: List Of Canceled Or Postponed Hollywood & Media Events...
Mtc says it’s finalizing plans to mount the production during the 2020-21 season, according to a spokesperson.
The production follows other one-season postponements as well as outright cancellations.
Coronavirus: List Of Canceled Or Postponed Hollywood & Media Events...
- 4/7/2020
- by Greg Evans
- Deadline Film + TV
Manhattan Theatre Club, Lynne Meadow Artistic Director and Barry Grove Executive Producer Daryl Roth and Cody Lassen in association with Vineyard Theatre have announced the full company for the Broadway premiere of the Pulitzer Prize-winning How I Learned to Drive - written by Paula Vogel, directed by Mark Brokaw. Tony Award nominee Johanna Day, Alyssa May Gold, and Chris Myers join previously announced stars Mary-Louise Parker and David Morse.
- 2/14/2020
- by BWW News Desk
- BroadwayWorld.com
Mary-Louise Parker and David Morse will star in a 2020 Broadway production of Paula Vogel’s Pulitzer Prize winning How I Learned to Drive, reprising roles they originated Off Broadway in 1997.
The Manhattan Theater Club production of How I Learned to Drive will begin previews on Friday, March 27, 2020, at the Samuel J. Friedman Theatre, with an opening night of Wednesday, April 22, 2020.
The announcement was made today by producers Manhattan Theatre Club and Daryl Roth, Cody Lassen, The Dodgers in association with the Vineyard Theatre.
Mark Brokaw will direct. Additional casting and the design team will be announced at a later date.
Vogel’s 1998 Pulitzer winner tells the story, as Mtc describes it, of a woman coming to terms with a charismatic uncle who impacts her past, present and future life. The play, with it’s frank depiction of pedophilia and its lifelong impact on the victim, was acclaimed by critics in...
The Manhattan Theater Club production of How I Learned to Drive will begin previews on Friday, March 27, 2020, at the Samuel J. Friedman Theatre, with an opening night of Wednesday, April 22, 2020.
The announcement was made today by producers Manhattan Theatre Club and Daryl Roth, Cody Lassen, The Dodgers in association with the Vineyard Theatre.
Mark Brokaw will direct. Additional casting and the design team will be announced at a later date.
Vogel’s 1998 Pulitzer winner tells the story, as Mtc describes it, of a woman coming to terms with a charismatic uncle who impacts her past, present and future life. The play, with it’s frank depiction of pedophilia and its lifelong impact on the victim, was acclaimed by critics in...
- 8/13/2019
- by Greg Evans
- Deadline Film + TV
Exclusive: New plays and musicals by Pulitzer Prize winners Beth Henley (Crimes of the Heart) and Tom Kitt (Next To Normal) are among the works-in-progress set for this summer’s 35th edition of the prestigious Powerhouse Season of Vassar and New York Stage and Film.
Presented annually at Vassar College in Poughkeepsie, New York, Powerhouse has given starts to an impressive roster of work, including Lin-Manuel Miranda’s Hamilton and Stephen Karam’s The Humans. Powerhouse also presented first-look productions of two finalists for the 2017 Pulitzer Prize for Drama: Sarah DeLappe’s The Wolves and Taylor Mac’s A 24-Decade History of Popular Music. A sampling of other current or recent Broadway and Off Broadway shows that can trace roots to the festival are Anaïs Mitchell’s Hadestown; the Lynn Nottage/Duncan Sheik/Susan Birkenhead musical The Secret Life of Bees; the Duncan Sheik/Steven Sater/Jessie Nelson musical Alice...
Presented annually at Vassar College in Poughkeepsie, New York, Powerhouse has given starts to an impressive roster of work, including Lin-Manuel Miranda’s Hamilton and Stephen Karam’s The Humans. Powerhouse also presented first-look productions of two finalists for the 2017 Pulitzer Prize for Drama: Sarah DeLappe’s The Wolves and Taylor Mac’s A 24-Decade History of Popular Music. A sampling of other current or recent Broadway and Off Broadway shows that can trace roots to the festival are Anaïs Mitchell’s Hadestown; the Lynn Nottage/Duncan Sheik/Susan Birkenhead musical The Secret Life of Bees; the Duncan Sheik/Steven Sater/Jessie Nelson musical Alice...
- 4/22/2019
- by Greg Evans
- Deadline Film + TV
Casting is confirmed and tickets are now on sale for the Signature Theatre Paige Evans, Artistic Director Harold Wolpert, Executive Director James Houghton, Founder production of Our Lady of 121st Street, by Pulitzer Prize-winning playwright Stephen Adly Guirgis and directed by Tony Award-winner Phylicia Rashad. This is the second production of Guirgis' Signature residency, which began last fall with the critically-acclaimed, extended production of Jesus Hopped the 'A' Train, directed by Mark Brokaw. Our Lady of 121st Street marks Rashad's New York City directorial debut.
- 3/29/2018
- by BWW News Desk
- BroadwayWorld.com
A cursory look at the filmography of writer-director Ramin Bahrani -- and by "cursory," I mean one not involving actually viewing any of his films -- will suggest to many that he's the kind of filmmaker who specializes in the oft-dreaded Movie That Is Good For You. His films invariably deal with cross-cultural exchange, or lack thereof; his characters are strangers in strange (albeit torn-from-today's-headlines) lands. They are immigrants looking for ways of belonging, foreigners trying to make peace with their obscure pasts and other species of societal outcasts. A possible précis for Bahrani's latest picture, "Goodbye Solo," wouldn't have to try terribly hard to make it sound like a cross between "Driving Miss Daisy" and Kiarostami's "A Taste of Cherry." The picture, set in Winston-Salem (where Bahrani himself was born) tells the story of an unlikely friendship between a cheery Senegalese cab driver named Solo (Souleymane Sy Savane) and a super-gruff,...
- 3/25/2009
- by Glenn Kenny
- ifc.com
Screen Media Films has picked up rights to distribute Sten Olssen's political thriller "An American Affair." Gretchen Mol and Noah Wyle star. The film is receiving a domestic release on Februaty 27th next year. Taking place in 1963, the film tells of a teen who watches JFK's affair with a neighbor (played by Mol). The company is also distributing the Alec Baldwin, Kieran Culkin and Rory Culkin starrer "Lymelife," as well as the drama "Spinning Into Butter" starring Sarah Jessica Parker, Miranda Richardson, Beau Bridges, Mykelti Williamson and Paul James. Mark Brokaw helms that project from the writing by Doug Athison ("Akeelah and the Bee") and Rebecca Gilman.
- 12/12/2008
- Upcoming-Movies.com
New York -- Screen Media Films has picked up Sarah Jessica Parker's racially charged drama "Spinning Like Butter" for North American distribution.
Parker produced and stars in director Mark Brokaw's adaptation of the Rebecca Gilman play. She portrays a liberal New England college dean forced to confront hidden prejudices and political correctness when one of her few black students (Paul James) receives anonymous racist letters. Mykelti Williamson, Beau Bridges and Miranda Richardson also star.
"Butter" ran into financial problems during its late-2005 shoot, leaving cast and crew members temporarily unpaid. Screen Media president Robert Baruc said producers and the film's Icm sales reps helped resolve the issues before he and his executive vp David Fannon sealed the high-six-figure deal.
Baruc will launch the "Butter" with a first-quarter 2009 theatrical release in New York, Los Angeles and five other U.S. cities, then decide on a platform strategy.
The film's delay...
Parker produced and stars in director Mark Brokaw's adaptation of the Rebecca Gilman play. She portrays a liberal New England college dean forced to confront hidden prejudices and political correctness when one of her few black students (Paul James) receives anonymous racist letters. Mykelti Williamson, Beau Bridges and Miranda Richardson also star.
"Butter" ran into financial problems during its late-2005 shoot, leaving cast and crew members temporarily unpaid. Screen Media president Robert Baruc said producers and the film's Icm sales reps helped resolve the issues before he and his executive vp David Fannon sealed the high-six-figure deal.
Baruc will launch the "Butter" with a first-quarter 2009 theatrical release in New York, Los Angeles and five other U.S. cities, then decide on a platform strategy.
The film's delay...
- 9/23/2008
- by By Gregg Goldstein
- The Hollywood Reporter - Movie News
TORONTO -- Mark Brokaw's Spinning Into Butter, which stars and was produced by Sarah Jessica Parker, will open Tonya Lee Williams' Reel World Film Festival on April 2, organizers said Thursday.
The U.S. indie drama -- about attempts by a New England college to resolve racial tensions after hate messages are scrawled on a black student's dorm room door -- will kick off Reel World's 8th installment in Toronto.
The Canadian festival will close April 6 with Kaushik Roy's South Asian drama Apna Asmaan (My Own Sky).
Williams (The Young and Restless) launched Reel World in 2001 to spotlight movies with multicultural themes. Also booked this year is U.S. director Reed McCants' Cuttin' da Mustard, Jennifer Sharpe's romantic comedy I'm Through With White Girls, Brian Petersen's Coyote and Charles Burnett's "Namibia: The Struggle for Liberation."
Canadian features at Reel World include Samit Brar's A Tune For Her and The Limits, Ben Mazzotta's long-awaited drama about four outcasts that converge in a seedy motel.
The Reel World Film Festival is set to run April 2-6.
The U.S. indie drama -- about attempts by a New England college to resolve racial tensions after hate messages are scrawled on a black student's dorm room door -- will kick off Reel World's 8th installment in Toronto.
The Canadian festival will close April 6 with Kaushik Roy's South Asian drama Apna Asmaan (My Own Sky).
Williams (The Young and Restless) launched Reel World in 2001 to spotlight movies with multicultural themes. Also booked this year is U.S. director Reed McCants' Cuttin' da Mustard, Jennifer Sharpe's romantic comedy I'm Through With White Girls, Brian Petersen's Coyote and Charles Burnett's "Namibia: The Struggle for Liberation."
Canadian features at Reel World include Samit Brar's A Tune For Her and The Limits, Ben Mazzotta's long-awaited drama about four outcasts that converge in a seedy motel.
The Reel World Film Festival is set to run April 2-6.
- 3/21/2008
- The Hollywood Reporter - Movie News
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