Aaron Sorkin in Talks to Adapt Michael Lewis’ ‘Flash Boys’: The Hollywood Reporter

41rC-xFW03LGreat news for fans of Sorkin/Lewis collaborations (Moneyball). According to THR, Sorkin is now in talks with Sony about adapting another Lewis book, “Flash Boys”, which “deals with the practice of high-frequency trading on Wall Street and how it became a way to rig the system.”

Tatiana Siegel writes: “Lewis’ book revolves around a group of men on Wall Street including Sergey Aleynikov, a one-time programmer for Goldman Sachs, and Brad Katsuyama, the founder of IEX, the Investor’s Exchange.

Scott Rudin and Eli Bush are producing the film. Rudin, who has his first-look deal at Sony, executive produced Moneyball.

Rudin and Sorkin are frequent collaborators, having worked together on Social Network and the HBO series The Newsroom. They also have an untitled Steve Jobs project in the works at the studio that Danny Boyle is directing.”

Check out more from The Hollywood Reporter.


New Trailer for Aussie Drama ‘Felony’ Starring Joel Edgerton and Tom Wilkinson

felony-4Actor Joel Edgerton stars and penned the script for Felony, an Australian thriller directed by Matthew Saville, about a detective (Edgerton) involved in a tragic accident. Enter two detectives, Tom Wilkinson and Jai Courtney, with conflicting motives and you’ve got yourself a tense little drama.

Melissa George co-stars in the film that had its worldwide premiere at the 2013 Toronto Film Festival and will open in Australia on August 28th.

Unfortunately, we do not have a release date for the US as of this moment, but I feel and hope this will change.

Check out the new trailer:

Harlan Ellison Scripted Episode of ‘The Outer Limits’ to get Feature Release

oltitleAccording to The Hollywood Reporter, Scott Derrickson (Sinister/Marvel’s Doctor Strange) and C. Robert Cargill have signed up to pen the script for a feature film based on a single episode of “The Outer Limits” television series that ran in the 1960’s.

“Demon With a Glass Hand”, written by science-fiction scribe and legend Harlan Ellison, received two awards back in the day: the 1965 Writers Guild of America Award for Outstanding Script for a Television Anthology and the 1972 Georges Melies Fantasy Film Award for Outstanding Cinematic Achievement in Science Fiction Television.


The episode focuses on a man with no memory of his life before the past ten days and whose hand has been removed and replaced by an advanced hand-shaped computer. The machine demands that three of the fingers (now missing) be reattached before the man will be told what has happened to him and why he is being hunted by a group of humanoid aliens, the Kyben.

New Trailer for Simon Pegg’s ‘Hector and the Search for Happiness’

hector-and-the-search-for-happiness-simon-pegg-stellan-skarsgardLooks like this fine day has graced us with a new trailer for Simon Pegg’s new film, Hector and the Search for Happiness, slated for release in the US on September 19th.

Christopher Plummer, Rosamund Pike, Toni Collette, Stellan Skarsgård, and Jean Reno join Mr. Pegg in what appears an inspirational tale of a psychiatrist struck with a bad case of the blues and sets off to explore the world with hopes of finding true happiness (I bet you he finds it, but it’s not where he think it is).

Because Simon Pegg appears to be a truly good guy in a sea of clueless nutters, any film he is in is worth mentioning in my book. So, here we are.


Trailer for Justin Simien’s ‘Dear White People’

dear-white-people-1Lionsgate and Roadside Attractions have released the new trailer for “Dear White People” by emerging writer/director Justin Simien. The film has already picked up some buzz on the festival circuit and is based on a successful short film that Simien had produced several years ago.

“Dear White People” is an aggressive comedy about race relations at a university seen through the eyes of the four African-American characters. The film is slated for release on October 17 and stars Tyler James Williams, Tessa Thompson, Brandon Bell and Teyonah Parris.

Check it out.

‘Boyhood’: Why Richard Linklater Owns His New Movie: The Hollywood Reporter

boyhood_5601_560Great post detailing a strange, but interesting occurrence in how film distribution contracts were constructed for Richard Linklater’s Boyhood and how this gamble could deliver massive payoffs financially and in securing some sliver of control over the distribution of a director’s film.

Tatiana Siegel for THR writes: “Richard Linklater’s new film Boyhood might jump-start a rare phenomenon in Hollywood: the director as owner. The director sacrificed his usual low-seven-figure upfront fee to share the copyright in his 12-years-in-the-making movie, as financial transparency improves in the industry and Hollywood’s take-the-money-and-run mentality shifts.

When Linklater’s longtime lawyer, John Sloss, structured the contract for the experimental coming-of-age drama — Boyhood was made over 12 years for a modest $5 million and is set to open July 11 — he insisted that financier IFC Films give the helmer part ownership of the movie’s copyright. Unlike a typical deal that offers a percentage of profits — or “points” — so a director shares in the success but has no control over the movie’s future, Linklater’s pact gave him a say in where and how the film is released. Working together, IFC the financier and Linklater decided that IFC’s distribution arm was their best option.

“This has been such a unique process and a complete leap of faith for all parties involved,” Linklater tells THR. As an owner, he can join in marketing decisions, touch each part of the revenue stream and eventually sell his stake to a library (by contrast, many directors still are paid for home video on a “royalties” basis that is much lower than theatrical gross). Sloss won’t reveal details but says Linklater’s ownership is substantial.

Still, it came at a price. The 53-year-old auteur had to give up a big part of his upfront fee, normally in the low-seven figures. And that’s precisely why most directors haven’t taken this route. They stick to Hollywood’s oldest adage: Take the money and run…

Others are skeptical, though. “I’m not sure director ownership is a trend,” says indie producing veteran Anthony Bregman (Begin Again, Foxcatcher). “Maybe it’s a trend for Richard Linklater.”

For more of this great article, check out THR.

Stephen Sondheim: ‘Puritanical Ethics’ on Disney ‘Into the Woods’ Changes-The Wrap

enhanced-buzz-6405-1380289280-32 Stephen Sondheim, prolific Broadway megawriter/lyricist/composer has a knack for heading to the heart of any issue and revealing the sometimes grim reality underneath the shiny surface. This talent extends not only to his work, but in how he sees the world. That is why we love him and he is of Godlike status in the theater world (a little side note, if you a fan of Sondheim and have not seen the HBO Documentary film Six by Sondheim, stop reading now and watch it. You will thank me later.)

That is why it was no surprise to hear his response to Disney’s “requests” in changes for the film reimagining of Sondheim’s “Into the Woods.”

Linda Ge of The Wrap writes: “Concerns that Stephen Sondheim’s subversive fairy-tale redo “Into the Woods” might get a Disney makeover when the House of Mouse mounted the big-screen adaptation seem to be coming true, according to the lyricist and composer himself.

Speaking to a Sardi’s full of theater educators about censorship in artistic education, Sondheim revealed that Disney shared some of the teachers’ concerns with the overt and not-so-overt adult themes in the show — for example, the sexualized nature of the relationship between the Wolf and Little Red Riding Hood. Sondheim says this sexualization has been removed from the film, along with some other more mature moments…

Sondheim says James Lapine, who wrote both the Tony-winning book of the musical and the film’s screenplay, tried to fight to keep some of these elements in the film, but the studio was firm…

Sondheim shared some of the teachers’ concerns on behalf of their students, who felt angry and mistrusted for having to put on edited versions of shows like “Into the Woods” and “Spring Awakening,” but realizes it’s part of reality. “[You] have to explain to them that censorship is part of our puritanical ethics, and it’s something that they’re going to have to deal with. There has to be a point at which you don’t compromise anymore, but that may mean that you won’t get anyone to sell your painting or perform your musical. You have to deal with reality.”

For more visit The Wrap here.