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Writers Lab for Women Screenwriters Over 40 Announces 2017 Participants

Writers Lab for Women Screenwriters Over 40 2017 participant Mandy Fabian: Nfmla/YouTube

New York Women in Film & Television (Nywift) and Iris have selected the participants of its third Writers Lab for Women Screenwriters over 40. Sponsored by Meryl Streep and Oprah Winfrey, the Lab is a four-day intensive script development retreat to be held in September in the Connecticut River Valley.

At the Lab, the selected writers will be mentored by film execs like “Deidra & Laney Rob a Train” producer Susan Cartsonis, “Precious” producer Lisa Cortés, “Equity” screenwriter Amy Fox, and “Strange Weather” producer Caroline Kaplan. The Lab will consist of one-on-one discussions between mentors and writers as well as panel conversations where everyone will meet to discuss themes and concepts.

Honeysuckle” writer-director Vigil Chime, “The Young Hillary Diaries” writer, director, and co-creator Mandy Fabian, and “Vampire Diaries” writer Holly Brix are among the 2017 Lab selectees.

“In three years, we’ve seen that the number and quality of screenplays written by women is staggering,” Iris Co-Founder Nitza Wilon stated. “Every script that we can develop brings us closer to balancing the scales in the film world: More women writing equals more roles for women, more opportunities for women to helm those films, and more movies that everyone wants to see.”

All of the 2017 Writers Lab participants and their projects are below. List courtesy of Nywift and Iris.

The Breakline, Kim and Mai SpurlockBring Back Girl, Vigil ChimeThe Contest, Judith and Sandra BergThe Custom of the Sea, Karen McDermottThe Deal, Andi DelottGrandview, Pamela Harris…into the Land of Nod, K. SmithLate Bloomer, Mandy FabianMile Zero, Holly BrixTaka-Jo, Samantha Manahan and Carol HostutlerWarrior Girl, Laurie WhitakerYazoo Cryin’, Shawn Tolleson

Writers Lab for Women Screenwriters Over 40 Announces 2017 Participants was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather”

Strange Weather

Katherine Dieckmann’s films include “Motherhood,” “Diggers,” and “A Good Baby.” She began her career as a journalist, writing for such publications as Rolling Stone, The Village Voice, and Vogue before going on to direct music videos for bands including R.E.M., Aimee Mann, and Wilco. Dieckmann is an Associate Professor at Columbia University’s graduate School of the Arts Film Program, where she has taught screenwriting for over 15 years, and a Creative Advisor for the Sundance Institute.

Strange Weather” hits theaters and VOD July 28.

W&H: Describe the film for us in your own words.

Kd: “Strange Weather” is a lyrical, emotionally rich drama tracking a woman (Holly Hunter) as she travels the deep south with her best friend (Carrie Coon) in an effort to process her grief over the loss of her son. It’s a story about how to be fully alive while facing death, about forgiveness, grace, and redemption.

W&H: What drew you to this story?

Kd: I wanted to explore the complicated path of an unconventional female protagonist in a way that felt real to me in terms of the women I actually know in my life — women I rarely if ever get to see represented on the big screen. They have reached a certain age but remain unresolved, alive, contradictory, compelling, and not prone to stereotyping.

Strange Weather” deals with female friendship, learning to see outside the sphere of your own personal pain, and finding ways to overcome that pain in the process. These are all ideas that I was interested in exploring in a feature, and this story allowed me the context to dive into all of them.

I also wanted to set a story about one woman’s turbulence within the climactic instability we all live with now, so that the outer world reflects the inner world, and vice versa.

W&H: What do you want people to think about when they are leaving the theater?

Kd: Hopefully people who have experienced some seismic loss — which is probably almost everybody — will find something in the story and its execution that allows them to breathe a little bit more deeply and feel less isolated in their own lingering grief, and to reach out and connect with others.

The path to redemption is often a crooked and unexpected one. And even though my main character has a traditional love interest with whom she can reconcile, what ultimately delivers her to a better place is her own tenacity and willingness to become open to both her pain and her foibles, and the constancy of her best friend, who supplies what is truly the most important relationship explored in the film.

W&H: What was the biggest challenge in making the film?

Kd: The biggest challenge was having 21 not-terribly-long days to realize a movie with a road trip spanning several southern states and different weather conditions, not to mention to shoot a script that contained a number of extended, emotionally complicated scenes that put great demands on my actors — which, I have to add, they met beautifully, especially Holly Hunter, who carried every one of them.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Kd: My film got funded through the sheer stubbornness of my two female producers, Jana Edelbaum and Rachel Cohen (iDeal Partners), who were tireless in their search for financing and in their conviction that this was a film that needed to get made. Eventually they found a financier, Great Point Media, that appreciated the script for what it was and allowed me to make exactly the film I wanted to make, with zero interference, which is such a rarity in indie filmmaking these days that I can still barely believe it happened.

My executive producer Caroline Kaplan also provided steady and unconditional support.

And beyond essential was my lead actress and stalwart collaborator, Holly Hunter, who came aboard about a year before we found our backing, and fought hard for the project in that interval and beyond, whether that meant reaching out personally to potential supporting cast or simply keeping the film alive in her heart and mind and helping to will it into being.

Great Point then affirmed that Holly alone was a valuable enough element to warrant our small budget, which one would want to believe is a no-brainer, but sadly it isn’t. That was a major gift, as it allowed us to cast freely for the rest of the parts.

W&H: What’s the best and worst advice you’ve received?

Kd: The best advice I’ve received is to never give up: never abandon hope with a cherished project because only the person who wrote it and will direct it is going to care about it enough to keep it alive when the odds are looking dire, and at some point they inevitably do. Robert Altman said something like you have to love every film as though it were your own child — and you have to love even the ugly ones, meaning you can’t disown a misfire.

The worst advice I’ve ever received was to be encouraged to bend my vision and what I knew would be best for my film by miscasting to secure financing. I take full responsibility for those mistakes [because I let it happen.]

That is something I will never, ever do again — I’d rather just not make a movie at all if it comes down to that. But it’s hard to resist the temptation to get your film financed, always, even if in your heart you know you could compromise it by making dubious decisions.

Again to reference Altman, casting is everything, and if you make sure to cast intelligently — and I would add, have a solid script going in — you’d have to work really hard to screw up your film.

W&H: What advice do you have for other female directors?

Kd: Write the strongest script you can write — something you care about passionately and can wholly believe in — and then keep rewriting it. Good writing will rise to the surface at the end of the day, I truly believe that. Get to know other filmmakers, not just female ones, and forge bonds and support each other, especially to better face disappointments along the path.

I feel that many independent filmmakers I know whose work I love and admire are right there behind me, cheering me on, as I also do for them. When anyone smart and decent who has a way with material gets to make a film, it is a good thing for everybody.

But for women specifically, I think the best thing is to be fearless, stubborn, and kind — even if you’re faced with unkindness. Rise above it. Do and be better, because the world is less forgiving of women: that’s just a stone cold fact. Surround yourself with people who understand what you are up to completely independent of your gender, because if they’re the right people, that will be the last thing they’ll focus on.

W&H: Name your favorite woman-directed film and why.

Kd: “An Angel at My Table” by Jane Campion. It speaks so clearly and poetically to why I wanted to become a writer, and how one woman writer came into existence, with a specificity that somehow makes it feel entirely universal.

I also have to co-cite the long-lost film “High Tide” by Gillian Armstrong, whose work remains criminally underappreciated today, especially “My Brilliant Career” and “Mrs. Soffel.” Judy Davis gives one of the most searing and singular portraits of a vexing woman ever committed to the screen in “High Tide.” You can find it on YouTube, but I wish Criterion would dig that one up and properly restore it.

W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some significant change?

Kd: I think the situation for female filmmakers in the U.S. is improving markedly now, although more in television than in features. There’s still a long way to go in terms of getting smart, complex female-driven stories on the screen, and for women to be able to feel free to take on any subject matter they want, which isn’t necessarily woman-centric or “personal.”

[And progress still needs to be made for women to] get taken seriously and be given the opportunities that men with way less experience and chops get handed everyday.

We are far from parity. But compared to when I made my first feature, “A Good Baby,” nearly 20 years ago, it’s night and day.

https://medium.com/media/28d70556c59285383acec8b540b954f4/href

Katherine Dieckmann on Crafting an Unconventional Female Protagonist in “Strange Weather” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Attention, Screenwriters: New Opportunities for Horror, TV and Women Over 40 — Roundup

  • Indiewire
Attention, Screenwriters: New Opportunities for Horror, TV and Women Over 40 — Roundup
Every week, IndieWire’s Filmmaker Toolkit rounds up the latest in opportunities that can help those looking to advance projects or get a career started in the film industry. The following grants, labs, fellowships, contests and other non-profit opportunities could be a great way to help kickstart your movie and TV dreams.

New Opportunities & Upcoming Deadlines

NBC’s Writers on the Verge

– NBCUniversal’s Writers on the Verge 12-week program focuses on polishing and preparing television writers for a staff writer position on a television series. Writers who are “almost there” but need assistance with their final bit of preparation with their writing and personal presentation skills are encouraged to apply. The program consists of two night classes, which will typically be held on Tuesdays and Thursdays from 7 – 10 Pm weekly at NBCUniversal in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.

Past
See full article at Indiewire »

Meryl Streep-Funded The Writers Lab Announces 12 Female Screenwriters For Second Annual Workshop

Meryl Streep-Funded The Writers Lab Announces 12 Female Screenwriters For Second Annual Workshop
Read More: 7 Best Screenwriting Apps to Make Life Easier

New York Women in Film & Television (Nywift) and Iris , a collective of women filmmakers, have officially announced the 10 selected screenwriters who will participate in this year’s The Writers Lab. Now in its second year, The Writers Lab is a program where emerging female screenwriters team up with industry mentors to help develop their screenplays. The lab is open to women over the age of 40 and is funded by Meryl Streep. This year’s participants include:

Carol Carpenter, “The Guadalupe”

Melody Cooper, “The Sound of Darkness”

Meredith DePaolo, “Devil’s Eye””

Nancy Duff, “Dead Drop

Kate Erickson, “Roll With It”

Tina Field Howe, “Drone War

Christina Hulen, “A Gentleman of Good Hope”

Christine Toy Johnson, “Jumping the Third Rail”

Nanci Katz-Ellis, “Blink”

Leslie Longworth, “One Bad Astronaut”

Barbara Nunberg, “Willful Blindness

Stephanie Stanley, “The Radical”

The mentors who will be included
See full article at Indiewire »

‘Chicken People’ Documentary Scheduled for Late Summer Release

Samuel Goldwyn Films has acquired North American rights from Cmt to the documentary “Chicken People” and plans a late summer theatrical release.

The film, directed by Nicole Lucas Haimes and produced by Motto Pictures, received its world premiere at the 2016 South By Southwest Film Festival. It will continue its film festival run leading up to the theatrical release in late summer followed by an on demand and digital release in October before premiering on Cmt later this year.

It’s the first theatrical run for a documentary from Cmt, which launched a dedicated documentary division in 2014.

The film follows exotic poultry breeders from across America with the goal of winning the title of Grand Champion at the Ohio National Poultry Show in November.

Joe Leydon said in his review for Variety that “Chicken People” is “an amusingly entertaining look at the thriving subculture of competitive poultry breeders.”

Christopher Guest couldn’t have written this better,
See full article at Variety - Film News »

Following Up The Writers Lab for Female Screenwriters Over 40

The first ever Writers Lab, a program targeting female screenwriters over 40, took place at Wiawaka on Lake George, New York from September 18-20, 2015.

The group of mentors included Caroline Kaplan ("Boyhood," "Time Out of Mind," "Personal Velocity"), Kirsten Smith ("Legally Blonde," "Ten Things I Hate About You"), Jessica Bendinger ("Bring It On," "Aquamarine"), Mary Jane Skalski ("Win Win," "The Station Agent"),Gina Prince-Bythewood ("Secret Life of Bees," "Beyond the Lights"),Lydia Dean-Pilcher ("The Lunchbox," The Reluctant Fundamentalist"), Meg LeFauve ("Inside Out," "The Dangerous Lives of Altar Boys"), and Darnell Martin (“Cadillac Records” and “I Like It Like That”).

Launched by New York Women in Film and Television (Nywift) and Iris, a collective of women filmmakers dedicated to championing the female voice in narrative film, was funded in part by Academy Award-winning actress Meryl Streep, and with the collaboration of the Writers Guild of America East.

Motivated by its screenwriting members who were frustrated with the paucity of development opportunities, Iris founders Elizabeth Kaiden, Kyle Ann Stoke, and Nitza Wilson approached Nywift to support a screenwriting Lab exclusively for this demographic and The Writers Lab came into being.

I spoke with Iris cofounder Elizabeth Kaiden to follow up about the first Writers Lab.

Kouguell: How many screenplays were submitted for consideration?

Kaiden: There were approximately 3,500 screenplays submitted. The selected participants were Sarah Bird ("Daughter of a Daughter of a Queen), Vanessa Carmichael ("The American"). Tracy Charlton ("Raised Up"), Kellen Hertz ("Ashburn"), Anna Hozian ("Anchor Baby"), Lyralen Kaye ("St John the Divine in Iowa"), Jan Kimbrough ("The Glastonbury Cow Party"), Billie Jo Mason ("The Cargo"), Peres Owino ("Basketweaver"), Gretchen Somerfeld ("Face Value"), Janet Stilson ("Jaguar Trail"), and Kim Turner ("It Goes Like This").

Kouguell: What were some highlights from the three-day Lab?

Kaiden: Highlights included the chemistry, warmth and enthusiasm of the group, the bucolic setting in which serious and thoughtful individual meetings between writers and mentors took place, the outstanding, locally sourced, group meals presented by Wiawaka chef Meg, and evening conversations around a bonfire. Oh, and the weather was fabulous.

Kouguell: What is the next step for these writers selected for the Lab?

Kaiden: Writers are all revising their work and communicating with each other. They will use the feedback, resources, references, and friendships they took away from the Lab to further develop their scripts and their opportunities.

Kouguell: In addition to the one-on-one meetings, what other events took place?

Kaiden: There were three panel discussions in which the mentors addressed specific craft issues and general industry insight, informal conversations, group meals, as well as small, directed group conversations led by Nywift Board President Alexis Alexanian to address the challenges writers face in navigating the film world.

Kouguell: What do you feel were some of the most positive outcomes from the weekend in Lake George?

Kaiden: The most exciting outcome of this venture, for me, is uncovering and bringing to public attention the field of women screenwriters, particularly its enormous breadth and depth. The most positive outcomes of the weekend Lab, for me, include the sense of empowerment I believe the Lab gave the writers to continue their work and develop their projects, and the supportive community of writers we all discovered, which can only further our goals of ensuring that more of their stories will reach audiences.

Kouguell: Will the Writers Lab take place again next year?

Kaiden: Yes.

Kouguell: Anything else you’d like to add?

Kaiden: We were excited and delighted by the energy and enthusiasm at the Lab. It felt like an important event. It Was an important event. We discussed and debated issues of theme, tone, craft, structure, character, as well as production, representation, and target markets. The mentors were unbelievably focused, supportive and encouraging. Serious work was done. The writers left feeling, I think, that their voices had been heard, and that they should all continue to tell their stories. I think you will be hearing more from these writers and about these projects. And, although that would have been enough, everyone had a blast.

Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting at Purchase College Suny, and presents international seminars on screenwriting and film. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with writers, filmmakers, and executives worldwide. www.su-city-pictures.com, http://su-city-pictures.com/wpblog
See full article at SydneysBuzz »

Meryl Streep's Screenwriting Lab for Women Over 40 Reveals Participants

Presented by New York Women in Film and Television (Nywift) and Iris, The Writers Lab is funded with the generous support of Academy Award-winning actress Meryl Streep. The one-of-a-kind lab will bring 12 women screenwriters over the age of 40 together with established mentors from the film industry for an intimate gathering and intensive workshop at Wiawaka Center for Women on Lake George, NY from September 18-20, 2015. The Lab is also presented in collaboration with the Writers Guild of America, East.

Being the only program of its kind, The Writers Lab evolved in recognition of the absence of the female voice in narrative film, along with the lack of support for script development. The lab will offer these 12 promising features by women over 40 a springboard to production.

The prestigious group of mentors includes Caroline Kaplan ("Boyhood," "Time Out of Mind," "Personal Velocity"), Kirsten Smith ("Legally Blonde," "Ten Things I Hate About You"), Jessica Bendinger ("Bring It On," "Aquamarine"), Mary Jane Skalski ("Win Win," "The Station Agent"), Gina Prince-Bythewood ("Secret Life of Bees," "Beyond the Lights"), Lydia Dean-Pilcher ( "The Lunchbox,"The Reluctant Fundamentalist"), Meg LeFauve ("Inside Out," "The Dangerous Lives of Altar Boys"). During one-on-one meetings they will provide the participants with insightful feedback and will take part in additional events to inspire the artists to hone their creative vision.

The Writers Lab, which was first announced at this year’s Tribeca film festival, received over 3,500 submissions, which encouraged the organizer to support not eight, as they originally had planned, but 12 women in film.

The selected participants are Sarah Bird ("Daughter of a Daughter of a Queen), Vanessa Carmichael ("The American"). Tracy Charlton ("Raised Up"), Kellen Hertz ("Ashburn"), Anna Hozian ("Anchor Baby"), Lyralen Kaye ("St John the Divine in Iowa"), Jan Kimbrough ("The Glastonbury Cow Party"), Billie Mason ("The Cargo"), Peres Owino ("Basketweaver"), Gretchen Somerfeld ("Face Value"), Janet Stilson ("Jaguar Trail"), and Kim Turner ("It Goes Like This").

You can find out more about this initiative and others from Nywift Here
See full article at SydneysBuzz »

Nywift and Iris Announce Inaugural Participants for The Writers Lab, Funded by Meryl Streep

Back in April, I interviewed the directors of Nywift and Iris about their noted launch of The Writers Lab, a retreat for women screenwriters over 40, that received a substantial amount of funding from Meryl Streep. The 12 inaugural participants, listed below, were selected from a pool of over 3,500 applicants. The eight mentors for the weekend long September lab are Jessica Bendinger (Bring It On, Aquamarine), Caroline Kaplan (Time Out of Mind, Me and You and Everyone We Know), Meg LeFauve (Inside Out), Darnell Martin (Cadillac Records), Lydia Dean Pilcher (Darjeeling Limited, The Talented Mr. Ripley), Gina Prince-Bythewood (Secret Life of Bees, Beyond the Lights, Mary Jane Skalski (Win Win, The Station Agent) and […]
See full article at Filmmaker Magazine »

Nywift and Iris Announce Inaugural Participants for The Writers Lab, Funded by Meryl Streep

Back in April, I interviewed the directors of Nywift and Iris about their noted launch of The Writers Lab, a retreat for women screenwriters over 40, that received a substantial amount of funding from Meryl Streep. The 12 inaugural participants, listed below, were selected from a pool of over 3,500 applicants. The eight mentors for the weekend long September lab are Jessica Bendinger (Bring It On, Aquamarine), Caroline Kaplan (Time Out of Mind, Me and You and Everyone We Know), Meg LeFauve (Inside Out), Darnell Martin (Cadillac Records), Lydia Dean Pilcher (Darjeeling Limited, The Talented Mr. Ripley), Gina Prince-Bythewood (Secret Life of Bees, Beyond the Lights, Mary Jane Skalski (Win Win, The Station Agent) and […]
See full article at Filmmaker Magazine_Director Interviews »

12 Selected for Meryl Streep-Backed Writers Lab for Women Screenwriters Over 40

First announced in May of this year, thanks to funding from Meryl Streep, The Writers Lab launched a screenwriting workshop contest specifically for woman screenwriters over 40 years old, to be run by the New York Women in Film and Television and Iris, a collective of women filmmakers.  The Writers Lab was seeking women screenwriters over the age of 40 for a screenwriting workshop at Wiawaka Center for Women on Lake George, NY, that would run from September 18-20, 2015.  Selected screenwriters will work one-on-one with mentors including Gina Prince-Bythewood ("Beyond the Lights," "The Secret Life of Bees"), Caroline Kaplan ("Time Out of...
See full article at ShadowAndAct »

Meryl Streep’s Screenwriters Program Selects Inaugural Participants

Meryl Streep’s Screenwriters Program Selects Inaugural Participants
New York Women in Film & Television and the Iris film collective have selected 12 screenwriters for the inaugural year of Meryl Streep’s Writers Lab.

The program, which is fully funded by Streep, provides script development for female writers over the age of 40. The Writers Lab, presented in collaboration with the Writers Guild of America East, received over 3,500 submissions.

Here are the participants and their scripts: Sarah Bird, “Daughter of a Daughter of a Queen”; Vanessa Carmichael, “The American”; Tracy Charlton, “Raised Up”; Kellen Hertz, “Ashburn”; Anna Hozian, “Anchor Baby”; Lyralen Kaye, “St. John the Divine in Iowa”; Jan Kimbrough, “The Glastonbury Cow Party”; Billie Mason, “The Cargo”; Peres Owino, “Basketweaver”; Gretchen Somerfeld, “Face Value”; Janet Stilson, “Jaguar Trail”; and Kim Turner, “It Goes Like This.”

The event will take place September 18 to 20 in upstate New York at the Wiawaka Center. Iris is a collective of women filmmakers founded by Kyle Ann Stokes,
See full article at Variety - Film News »

Cannes '15: Hailee Steinfeld & Robert Sheehan in 'The Statistical Probability of Love at First Sight'

Continuing with their numerous exciting news The Exchange's CEO Brian O'Shea has announced that Robert Sheehan ("Geostorm," "Mortal Instruments," Moonwalkers," "The Misfits," and "Red Riding")has been cast as the male lead in the feature "The Statistical Probability of Love at First Sight" alongside Hailee Steinfeld.

The Exchange brought the feature to Cannes'15 to sell to international buyers. CAA holds domestic sales rights.

"The Statistical Probability of Love at First Sight" is written, directed, and executive produced by Academy Award-winner Dustin Lance Black ("Milk," "J. Edgar") and produced by hit makers Bruna Papandrea ("Gone Girl," "Wild," "Warm Bodies"), Caroline Kaplan ("Time Out of Mind," "Boyhood," Letters to Juliet"), and Steve Hutensky ("2:22," "The Human Stain," "The Moon and the Sun"). 

Set over a 24-hour period, "The Statistical Probability of Love at First Sight" follows Hadley (Steinfeld,) stuck at John F. Kennedy Airport and late to her father's second wedding in London, who meets the "perfect" young man in the airport's cramped waiting area. His name is Oliver (Sheehan), he's British, and he's found his way to seat 18B. Hadley is in 18A. In this story about the mad fears when love first strikes, Hadley and Oliver make it clear that true love isn't what greeting cards peddle, it's an act of bravery that's well worth the leap.

"Robert and Hailee together are perfect" O'Shea went on to state "They are both identifiable and winning, the script is sharp, the production team is aces, I really think we could have 'When Harry Met Sally' for the younger generation."

Robert Sheehan is represented by The Gersh Agency and Lisa Richards Agency.
See full article at SydneysBuzz »

Cannes: Robert Sheehan Joins Hailee Steinfeld in Romance ‘Statistical Probability’

Cannes: Robert Sheehan Joins Hailee Steinfeld in Romance ‘Statistical Probability’
“Mortal Instruments” star Robert Sheehan has joined Hailee Steinfeld in Dustin Lance Black’s romance movie “The Statistical Probability of Love at First Sight.”

The Exchange is launching international sales at Cannes while CAA is handling domestic rights. Production will begin later this year.

Black is directing from his own script, based on Jennifer E. Smith’s novel about a young woman who meets a young British man as she waits at John F. Kennedy Airport for a flight to London for her father’s second wedding.

Producers are Pacific Standard’s Bruna Papandrea, Caroline Kaplan and Steve Hutensky. Black is exec producing.

Sheehan will be seen next in Dean Devlin’s “Geostorm.” He is repped by Gersh and Lisa Richards Agency.
See full article at Variety - Film News »

Robert Sheehan to star in 'Love At First Sight'

  • ScreenDaily
Robert Sheehan to star in 'Love At First Sight'
Mortal Instruments to star opposite Hailee Steinfeld.

Robert Sheehan, the young star of The Mortal Instruments and the upcoming Warner Bros tentpole Geostorm, is to star opposite Hailee Steinfeld in Dustin Lance Black’s The Statistical Probability Of Love At First Sight, which The Exchange sells in Cannes.

CAA holds Us sales rights to the romantic story about two youngsters who sit next to each other on a flight from New York to London.

Bruna Papandrea produces with Caroline Kaplan and Steve Hutensky, while Black serves as executive producer.
See full article at ScreenDaily »

Robert Sheehan Joins Hailee Steinfeld In ‘Statistical Probability Of Love’ – Cannes

Robert Sheehan Joins Hailee Steinfeld In ‘Statistical Probability Of Love’ – Cannes
Mortal Instruments‘ Robert Sheehan has been set to star opposite Hailee Steinfeld in Dustin Lance Black’s romantic drama The Statistical Probability Of Love At First Sight. Oscar-winner Black wrote and will direct the project. He’ll also exec produce with Bruna Papandrea, Caroline Kaplan and Steve Hutensky producing. Based on the 2013 Ya novel by Jennifer E. Smith, the story follows Hadley (Steinfeld) over a 24-hour period. What first looks like a rotten day as she waits…
See full article at Deadline Movie News »

Cannes: Robert Sheehan Joins Hailee Steinfeld in 'Statistical Probability of Love'

Robert Sheehan (Geostorm, Mortal Instruments) has been cast as the male lead in Dustin Lance Black's The Statistical Probability of Love at First Sight alongside Hailee Steinfeld.  Sales company The Exchange will be bringing the feature to Cannes and offer it to international buyers. The Exchange's CEO Brian O'Shea announced the casting on Thursday. CAA holds domestic sales rights. The film is written, directed and executive produced by Black (Milk, J. Edgar) and produced by Bruna Papandrea (Gone Girl), Caroline Kaplan (Boyhood) and Steve Hutensky (The Human Stain). Production is set to begin later this year. Read More Cannes:

read more
See full article at The Hollywood Reporter - Movie News »

Female screenwriters rejoice! Meryl Streep will fund a screenwriting lab for women over 40

The issue of the lack of women working in the film industry just received a huge Meryl Streep-sized boost in the form of a substantial amount of money.

Variety reported Sunday that Streep, currently about to star in the women’s voting rights drama Suffragette, will be funding a new screenwriting lab for women over 40. The news should stir joy in the hearts of anyone who wants to see more diversity in the film industry (which should be everyone). Everyone knows that Streep is a gem among actors working today, and now she has proven to be even more awesome than we mere mortals could have anticipated.

The screenwriting lab, officially called The Writer’s Lab, will be moderated by New York Women in Film and Television and Iris (a group of women filmmakers) and will accept submissions from May 1 to June 1. The eight winning writers will be notified
See full article at SoundOnSight »

Meryl Streep Funds Lab for Women Screenwriters Over 40

Meryl Streep Funds Lab for Women Screenwriters Over 40
Meryl Streep has funded a screenwriters lab for women writers over 40, to be run by New York Women in Film and Television and Iris, a collective of women filmmakers.

The creation of the lab, and Streep’s involvement in its founding, was announced Sunday at a panel discussion presented as part of the Tribeca Film Festival.

Called the Writers Lab, the screenplay development program aims to increase opportunities for female screenwriters over the age of 40. This year the initiative will accept submissions May 1-June 1, with eight winning scribes named Aug. 1.

Among the mentors to participate in the Lab’s inaugural year are writer-director Gina Prince-Bythewood (“Beyond the Lights”), producer Caroline Kaplan (“Boyhood”), and writers Kirsten Smith (“Legally Blonde”) and Jessica Bendinger (“Bring It On”).

According to Nywift, Streep ponied up a “significant” contribution to fully fund the Lab. The actress has been a longtime supporter of Nywift.

The Writers Lab
See full article at Variety - Film News »

Michael Sheen joins Oppenheimer Strategies

  • ScreenDaily
Michael Sheen joins Oppenheimer Strategies
Efm: Michael Sheen, Steve Buscemi, Josh Charles, Charlotte Gainsbourg, Dan Stevens, Isaach De Bankolé and Israeli actor Lior Ashkenazi have joined Richard Gere on the cast of Oppenheimer Strategies, which The Solution Entertainment Group is selling at the Efm.

Joseph Cedar directs from his screenplay about the famous scientist. Gideon Tadmor and Tadmor Entertainment, Miranda Bailey and Cold Iron Pictures, David Mandil and MoviePlus Productions, Lawrence Inglee, Eyal Rimmon and Oren Moverman. Michal Graidy, Caroline Kaplan, Amanda Marshall, Jim Kaufman and Doug Mankoff serve as executive producers.

Principal photography is set to being on Sunday (February 8) in New York and Israel. ICM Partners handles Us rights.

The Solution has also come on to handle international sales on thriller Tokyo Vice to star Daniel Radcliffe. John Lesher’s Le Grisbi Productions produces with Adam Kassan and The Solution’s Lisa Wilson and Myles Nestel are executive producers alongside Binn Jakupi. Production is set of this summer in Japan
See full article at ScreenDaily »

Berlin: ‘Oppenheimer Strategies’ Draws Michael Sheen, Steve Buscemi

Berlin: ‘Oppenheimer Strategies’ Draws Michael Sheen, Steve Buscemi
Michael Sheen, Steve Buscemi and Josh Charles have joined Richard Gere’s political drama “Oppenheimer Strategies,” with shooting starting next week in New York and Israel.

The Solution Entertainment Group is selling international rights at Berlin. ICM Partners is repping the project domestically.

Charlotte Gainsbourg, Dan Stevens, Isaach De Bankole and Israeli actor Lior Ashkenazi have also joined the cast with Joseph Cedar directing from his own script.

The film is produced by Gideon Tadmor and Tadmor Entertainment, Miranda Bailey and Cold Iron Pictures, David Mandil and MoviePlus Productions, Lawrence Inglee, Eyal Rimmon and Oren Moverman; executive producers are Michal Graidy, Caroline Kaplan, Amanda Marshall, Jim Kaufman and Doug Mankoff.

Gere plays the titular character. His life dramatically changes after the young politician he befriended during a dark period in his life becomes an influential world leader.

Cedar’s 2011 film “Footnote” received an Academy Award nomination for Best Foreign Language Film,
See full article at Variety - Film News »
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