FilmFour Snags 5 Miramax Pics

LONDON — Bolstering its film slate with key U.S. indie titles, FilmFour has acquired U.K. distribution rights to five high-profile films from Miramax.

The deal marks the first time Miramax has sold a substantial number of key titles to a U.K. distributor outside its ongoing relationship with Buena Vista International, which in the past has handled U.K. distribution on the majority of Miramax films.

FilmFour will handle the U.K. release of Kevin Smith’s “Dogma” starring Ben Affleck, Matt Damon and Linda Fiorentino; Robert Iscove’s teenage hit “She’s All That”; Jane Campion’s “Holy Smoke” starring Kate Winslet, Harvey Keitel and Pam Grier; Chris Eyre’s “Smoke Signals”; and Brad Anderson’s “Next Stop Wonderland.”

Ah, the Virgin Lounge

Sounds far more intriguing than it is, but Virgin Airlines does throw together a nice lounge for its international passengers. If you ever get a chance, fly Virgin (I’m cashing a check as we speak).

Onto other stuff…

First off, the Premiere piece (which most haven’t seen yet) talked about in Jeff Wells’ ‘Mr. Showbiz’ article is about as close to the truth as one could get, save the ‘demanding cuts’ part. At no time has anyone ever demanded any cuts to be made in ‘Dogma’. Also, the portion of Jeff’s piece that mentions ‘re-shoots’ isn’t entirely accurate. If folks will recall, we shot ‘pick-ups’ that weekend; in other words, we shot things we never shot during the bulk of production (to wit, they were exteriors, a shot of Loki inserting a c.d., Jay and Silent Bob in a shadowy, slo-mo shot, and a shot with Linda that I’m reluctant to detail because it’d be something of a spoiler). None of that material changed or altered the film in any way; it merely filled in spaces being held by black or took over for temp shots. If we were doing any re-shoots, believe me – you’d have known about it, because I would’ve been kicking and screaming, and bitching up a storm… quite publicly, too.

But in regards to Jeff’s piece (which is more-or-less an ‘I told you so’, with all due respect), he’s not entirely right. At press time of his first ‘Mr. Showbiz’ piece (and indeed, at the time he was originally attempting to contact me about the piece – while we were still in production – for what he was then alleging was the L.A. Times)there were no such rumblings and no hint that Disney even knew we existed. Now mind you, I’ve never had Michael Eisner’s ear (well, except during the ‘Clerks’ animated series pitch), I have had Harvey Weinstein’s; and in all that time, Harvey never once mentioned a problem with the parent company (Disney, for those who came in late). If there was an issue with the content, we’d have heard it much earlier. We didn’t. No story.

We’ve since gotten the film into a watchable condition (minus all the final touches and the score, which we just completed this week), and it’s been screened for some Disney brass whose opinion of the film beyond “Great job,” and “You’ve taken a leap in craft, here,” I’ve not been privy to. Remember though – for what it’s worth, I have a halfway decent track record in the business, and I seem to attract a degree of name talent these days, and I work in a business of folks who’ll never burn a bridge unless they’re absolutely positive the German infantry is halfway across it.

Meaning?

If folks are pissed, scared, or ready to cut us loose, I’ll be among the last to know.

Have I heard rumors? Sure – I read ‘Premiere’ and ‘Mr. Showbiz’ too. Is it conceivable that Disney may be nervous about the flick? Of course. Do I find it odd that we’re not on Miramax’s release schedule yet? Oh yes. But does this all add up to disaster?

I don’t think so.

I trust I make myself obscure?

When the dust (if there truly is any) settles, you’ll be the second to know (gotta tell the cast first). Until that time, let’s see what happens together.

On a final note, in regards to the articles, or any others like them that may surface – I’d ask that you not resort to petty name-calling in regards to the authors. Has it ever occurred to any of you, that – aside from getting a scoop or filling some columns – they might just be looking out for the film as well? If they’re getting my back, I’d rather not discourage that sort of thing (and to their credit, both authors – Wells and John Horn at ‘Premiere’ – tried to get in touch with me for their respective pieces, at one time or another).

Getting on a plane relatively soon (less than an hour), so I’ll be chatting at you next from the good ol’ U.S. of A. (where I hope to find out more about the fate of my film).

Well, once again, there are a host of innacuracies in this report. I don’t know, nor have I ever met or spoken to Mr. Eisner– so I am certainly in no position to speculate on his thinking (nor, I strongly suspect, are the anonymous sources for this piece.) That being said, I DO KNOW that I have never ‘lobbied’ Mr. Weinstein not to abandon the movie or otherwise gotten involved in the politics of the release date of this movie in any way. It is true that Harvey can release any movie he wants that is not NC-17 and I’m sure he will make a decision regarding what he wants to do with the movie (and when) once he has seen the finished product. This is one of those stories (like all those put forth by anonymous sources about my supposedly acrimonious break-up, or my impending marriage, depending on whom you read) that will be proven false with time. Until then, I suppose it makes for good copy on a slow news day. It should also be noted that as a mere actor in the movie, any thoughts of mine are mere speculation and are as valid as any other casual observer’s– no more, no less. I wouldn’t worry though, you’ll get a chance to see the movie in good time. I just hope you enjoy it.

‘Dogma’ Difficulties?

There are rumblings that Dogma, Kevin Smith’s religious allegory, might be moving to another studio. According to an article in the upcoming April 13 issue of Premiere (via Mr. Showbiz’s Jeffrey Wells), reporter John Horn is suggesting that the film is still sitting in a troubling position at Miramax due to the potential furor that might be caused by its irreverent religious storyline. Horn reports that Miramax is rumored to have approached at least two distributors (with Paramount mentioned) about their taking over the film. Word has it that the screening of the film at Cannes is also intended as a means of showing off the film to potential buyers. Still, it sounds like there may be a chance that Miramax might distribute the film if, according to Horn, the studio “has discussed trimming some of the film’s more outrageous moments.” Or perhaps a very positive Cannes screening will change their minds.

Greetings from Blighty, where we exist in the future (until Sunday, I believe we’re six hours ahead of you east coasters across the pond; nine ahead of you west coast tossers). Just thought I’d check in with the ol’ update (as uneventful, yet eventful as it is).

As most of you are aware, we’ve been recording the score all week (well, it’s not really WE; it’s Howard and a scaled-down version of the London Symphony Orchestra). It sounds nothing short of tremendous, thanks to Howard and Co.’s tireless efforts. We’ve been recording at this old church that’s been renovated and turned into a studio (Air Studios, to be precise); quite fitting, actually. Tomorrow, we head over to Abbey Road (yes – THAT Abbey Road) to record the choral parts of the score, as well as the ‘Mooby March’ theme song (lyrics by yours truly).

With the daily schedule we’ve been keeping, I haven’t seen that much of the town (though I’ve been here a few times before, so it’s cool). I’ve been able to pop into a few comic book stores, and was pleased to find the comics and the shirts and such have traveled across the Atlantic. Kinda cool, that.

In the bizarre celebrity sightings department, Jen (whose here as well) saw Denise Richards jogging in Hyde Park (presumably here for the Bond flick);and we saw Billy Zane (the ‘Phantom’!) in a comic book store. Spoke to neither; but short of the scoring, it’s just been THAT uneventful a week, that it warranted a mention (I feel like NewsAskew, searching for anything Askew-related during a dry spell).

We head home Sunday for two weeks before we head back to Skywalker for the final mix. The Cannes screening (for fest-head Gilles Jacob) was moved to this coming Tuesday, so hopefully we’ll know then if we’re in or out at that point.

That’s about it, I guess…

With the exception of the Premiere piece that some of you have been hearing about. To that, at this point in time, I can only suggest staying tuned: it’s going to be an inter [END OF MESSAGE CUT OFF]

The Deal on Dogma

Does anyone remember that scrap between me and Ben Affleck last August over Dogma? Affleck calling me a “chucklehead” because I quoted him accurately when he spoke about the film’s uncertain distribution status at the hands of Miramax Films and its parent, the Walt Disney Company? Affleck saying “there is no Dogma controversy that I know of” and accusing me of massaging his quotes out of context?

Ben must have at least considered eating a little crow when Mr. Showbiz ran the full transcript of what he’d said, which showed that his quotes hadn’t been manipulated or rearranged to change their meaning. Affleck had more or less confirmed what I’d been hearing last summer about Dogma, the latest film from writer-director Kevin Smith (Chasing Amy, Clerks) in which he’d recently co-starred. The buzz was that Smith’s irreverent lampooning of Catholic mythology had stirred some intrigue between Miramax and Disney about its distribution prospects.

Dogma co-stars Affleck and Matt Damon as angels who’ve been tossed out of Heaven. Also featured are Linda Fiorentino, Salma Hayek, Chris Rock, Alan Rickman, and Alanis Morissette, who plays God. In Affleck’s words, the film offers the notion that “Mary and Joseph had sex, and they had a kid, and therefore there’s a [female] descendant of Christ on earth . who works at an abortion clinic.” The subject matter, he said, is “definitely meant to push buttons. There are clearly things about it that will be incendiary.”

I’d been told prior to the Affleck interview that Disney chairman Michael Eisner had read (or been told about) the Dogma script and was adamant about not wanting it released by Miramax, for fear that it might trigger protests from the Catholic right. Five years ago Catholics protested the release of Priest, a Miramax pickup about a closeted gay cleric in England.

A Miramax spokeswoman told me last summer that Dogma’s subject matter was a nonissue since their contract with Disney only forbade the release of films rated NC-17. This cuts no ice with Eisner, apparently. He’s allegedly made it clear to Miramax head Harvey Weinstein “in no uncertain terms that he won’t release it . he’s saying, not under my banner,” according to one insider.

Affleck said “it would not surprise me if the political situation around Dogma was very tenuous. . I know [Miramax chief] Harvey Weinstein has his trepidations about this, and he’s gotta answer to Disney.” Allowing that Eisner was “probably” nervous about it, Affleck went on to praise Dogma as “one of the most original, funny, smart, interesting movies I’ve ever done” and said, “I hope Disney supports [it] and stands behind it.”

Now the Dogma issue has reared up again, in a story by John Horn in the latest issue of Premiere magazine that’ll hit the stands on or about April 13. It claims that the distribution of Dogma is still up in the air and that Miramax may be abandoning it. The article clearly indicates that when Affleck tapped out his “no controversy” remark last summer he either didn’t know or wasn’t saying.

Miramax said last summer that it intended to release Smith’s satire early this year. That hasn’t happened. The plan now, according to John Pierson, the Split Screen host who has seen Dogma and is friendly with Smith, is for the distributor to take Dogma to the Cannes Film Festival in May and then open it domestically in the fall.

But according to Horn, Miramax may not release it at all, and has in fact approached “executives of at least two distributors, including Paramount Pictures head Sherry Lansing, about taking over the project.” It is suspected that the real Cannes agenda is to build interest in Dogma and attract a potential distributor.

More recently, Horn writes, “[Miramax] has discussed trimming some of the film’s more outrageous moments. Horn also reports that Affleck “is so concerned about Miramax’s plans that he has begun lobbying Weinstein to not abandon the movie.”

A Miramax representative declined to comment about the Horn article, or say definitively whether or not Miramax would be releasing Dogma. The fact that Miramax didn’t screen any Dogma footage at the recent ShoWest gathering in Las Vegas suggested to some that the distributor’s plans for releasing the film were, at the least, unresolved.

Any way you look at it, Weinstein is in a tough spot. He doesn’t want the indie-styled Miramax to be seen as kowtowing to conservative corporate values, as represented by Eisner’s reported concern about the Catholic League. Nor would he want to be involved in any intrusive cutting of the film, given his long-established reputation as “Harvey Scissorhands” that he’s been trying to live down.

According to reports on Kevin Smith’s Web site (http://www.viewaskew.com), Dogma underwent additional shooting earlier this year and has been shown in test screenings at least three or four times, reportedly to positive reactions. I’ve read a draft of Smith’s script and found it quite clever and funny. The film has been praised time and again on Harry Knowles’ site by people who’ve claimed they’ve seen it in previews. Horn says that Dogma has been described “by all accounts [as] an intelligent allegory.”