
Cassian Elwes, who’s selling distribution rights to Dito Montiel’s The Son of No One, is crying foul over a barbed trade story about the film’s first Sundance screening. The piece reported that a multitude of buyers were in attendance, and described an “exodus” of walk outs before the film was over. The trade declared The Son of No One is Sundance’s first bomb, a crushing blow for a film with a great cast that includes Channing Tatum, Al Pacino, Tracy Morgan, Katie Holmes, Ray Liotta, and Juliette Binoche.
Elwes blamed the exits on a mistake by a projectionist, and said the trade story painted an unfair picture by omitting that information. He said the slam piece has negatively impacted discussions with distributors. Elwes said he’s got three offers, but suitors are trying to use the report to get a discount.
I wasn’t at the screening, but I granted Elwes’ ask to explain what happened: “About a month ago, Dito decided to add a card, two scenes before the end of the film, that says, ‘Based on the book, Story of Milk.’ That is the character’s name in the film. Yesterday, the projectionist thought that meant the movie was over, and he turned the lights on. That’s when people got up. They thought movie had ended. Some left, but most stayed. This nasty little piece didn’t mention any of this. It’s not true that the movie is a bomb. We’re got three offers, but I feel some buyers pushing their own agenda with spin to bring the price down. Meanwhile, none of the reviews have come out. Before the press rushes to judgment, why not wait to see what real reviewers think, or at least get the story right?”
Montiel should also learn there’s a reason they put the bibliography in the back of the book, and the credits at the end of the film.


It’s too bad someone didn’t tell Elwes to sit down and shut up. Then he could have shouted, in his best Pacino…
“I’M JUST GETTIN’ WARMED UP!!”
… One of these days Channing Tatum will wake up and realize that Montiel is a mediocre film director on his *best* day. FIGHTING is probably his ceiling.
Uh, like Channing Tatum can act???
“There are no asterisks in show biz.” — Ari Gold
Cassian should stop whining, he stuck it to distributors for years, now karma is coming back to him –
“White boy who went to college.”
You mean to tell me that a flash of an onscreen card gets people up out of their seats that quickly? Was the card on the screen for ten minutes? Something in the milk ain’t clean..
No, the projectionist turned the lights on when the card came up, meaning people mistakenly thought the film was over. Made sense to me
Wait… Are you telling me they don’t show end credits normally at Sundance? I mean, why would the projectionist flip the lights without waiting to see if credits were coming? Very odd.
i was there and the movie was terrible. i walked out halfway through and i’ve never walked out of a movie before even at festival. lots of others walked out before me. and this was well before i saw anything about “milk stories” or whatever, but that sounds just about as dumb as the parts i did witness. so sorry cass, can’t spin ‘em all
That piece was certainly nasty and vicious. DITO MONTIEL is one of the most exciting new filmmakers of the last five years, and to make assumptions about this one screening means nothing. Too bad the hatchet job reflects negatively on a solid cast, a tight script, and a WONDERFUL film.
I say to the filmmakers: HOLD YOUR HEAD UP HIGH and move forward. Sell the pic — market it well — IT IS A JOB WELL DONE! At the end of the day — your movie sells itself, and the only truth in Hollywood is this…
NOBODY KNOWS ANYTHING!!!
Cassian needs to wake up and realize he in no longer the king of indie film.
Heard he sold a couple movies at the festival already. He and Rena Ronson really were the best sales team in town by a mile.
Yeah, she’s killing it for UTA this year. Always liked Cassian.
Is that why it looks like he’ll be three for three with films at sundance this year?
Having watched the trailer, the movie does look good, with an interesting premise. But who the hell puts a “based on” title card like that two-scenes before the end of the movie? Granted, I’m not seeing it in context — but it sure does feel like a directorial “jerk-off.” Lame explanation for people leaving early.
Any reason WHY Montiel chose to put a title card up two scenes before the end of the film because I can’t think of one good reason to do so. I’m not surprised the projectionist assumed the movie was over and turned on the lights. However, at Sundance, is it normal for the lights to come up before the end credits have a chance to appear? Sounds like the projectionist was a bit too quick to hit the lights. Or maybe he was being paid by a rival. Something sounds off in this story.
How heartbreaking it is for artists to be slammed by reckless comments after an unfortunate screening. This film, the filmmakers and cast are some of the best in the business. How extremely hard it is to get movies with a point of view made in this marketplace. Shame on the writer to haze a movie and affect others’ careers. What’s the saying, those that can’t do, teach….those that can’t in this industry, criticize. Let’s hope the filmmaker and creative people involved prevail and have the last laugh….
How did they “leave early?” The mistake happened at the end of film. By then they had watched 99% of the film. Blaming only three low ball bids on this is lame.
Oh how far the mighty have fallen….
WHO WROTE THE REVIEW/ARTICLE IN QUESTION???
I’m not sure the point of an article like this if the original article and its author and which trade published it is never mentioned.
Elwes story is fishy and makes little sense; sure, any given distributor could use the article as a pretense to lowball their bid — a tactic which MIGHT work if Elwes is the only person they’re negotiating with. The problem is each distributor is not only dealing with Elwes, they’re also dealing WITH THE OTHER DISTRIBUTORS. So, if SPC wants this film and uses this review as pretense to make a lowball offer, they’re going to lose the film to one of their competitors who makes a fair offer.
The title card thing makes little sense either. Title cards last about two seconds. So a projectionist was able to read a title card, turn the lights up and an audience of several hundred all collectively decided the movie was over…in the span of two seconds?
Hey You have a run thru so the projectionist knows where the change overs are and what the end of the film will look like OR you go up and explain to the projectionist before big screenings-
You also set you sound levels
Film Festival selling 101
who was in charge of this?
This whole thing smells fishy. I’ve been to Sundance for years, and the lights never come up until at least the actor scroll. They always let the credits roll. Not sure what happened at this screening, but this spin is bogus. Both sides highly biased. Let the sale speak for itself. If ti’s worth more money, it will get more money.
I can tell by many of the comments that those involved in this discussion know a little something about the independent film biz. I don’t. I am a film fan, certainly, but claim zero expertise about how the Indie scene works re: film (I’m more a music guy than a film guy).
Having said that: I hope that fans of this film like those who commented here will keep talking about this. Clearly, those that actually saw the film seem to have enjoyed it. And in all honesty, I doubt I would have hard of this film had it not been for this story. I see “Pacino bombs at Sundance;” I want to check it out. Now, after reading this story, I want to make sure I see this film. So again, for those of you who are coming to the defense of those involved, please keep it up. Played right, this may be the best thing that could have happened for “Son of No One.”
sometimes i leave screenings early if it’s at the racquet club or i have a tight window to get to my next screening. it’s easier to leave if it’s not much good, but sometimes it depends on what the next film is — you don’t want to lose your ticket/seat for something really compelling to watch the last 10 min of an ordinary film. sorry Dito.
Well a number of other reviews have popped up online by other critics and they all agree that the film is horrible. This story about the “title card” seems like desperate spin to try and curb the damage.
There really haven’t been a lot of reviews that have popped up online. There’s one negative one that popped up from The Wrap and another from thefilmstage.
There’s 2 others that basically love the first 80 minutes and then say it bombs out in the last 10 minutes – more or less 2 and 1/2 star reviews.
Something is very odd in this whole thing – the THR article does sound a bit over the top and hatchet-like and Elwes story makes some sense but not 100% convincing sense.
I guess what we can say for sure is that the film is being shown again as the closer and at that point more reviews will come out. It seems it’s going to get a re-cut one way or the other – there’s no way that title card is staying in there.
This film is not horrible! I saw it at Sundance, and it is amazing! It had a few bumps in editing, but overall, it was a professional piece of work. Intriguing storyline, and wonderful acting. Ending showed too much, as if the director thought an intelligent audience couldn’t figure things out by the “clues” he put earlier in the film.
There were at least two dozens walkouts, including Harvey W. and the Paramount team, well before the confusing title card situation. The movie is a dud, with a plot recycled from I Know What You Did Last Summer.
wow, is juliette binoche playing an american character? w/ a new yorker accent?
These stories never work. The desperate buy a little time until the reviews come out and then the notices will say what they say anyway. Clock ticking…stay tuned…
Why is Deadline Hollywood reluctant to identify the trade? If you read the damn things, then you know it’s the newfangled Hollywood Reporter. Either way, since when is Nikki Finke afraid of the Reporter? She’s been doing her best to piss them off for the last two years. Maybe it was the same ruse. Nikki did take the job as editor and took the beach house. But then she came around and got into bed with E3 or whatever they’re called.
And Mike, you certainly know better.
The reviews vs this kind of fluffing and the reviews always win. Tsk. Tsk.
So, you’re exhibiting your movie at an extremely reputable film festival, attended by exhibitors, distributors, media, industry VIPs, etc., but everyone gets up and leaves as soon as the lights go up? Shouldn’t they be waiting for the credits to roll and pay respect to all those people – THEIR PEERS! – who poured their blood, sweat and tears into the movie they just viewed?!
If the industry, as a whole, learned some manners and respect, then, perhaps, this situation would never have happened.
But I also wonder why would a director insert such a card two scenes before the end of the film? Or at any point in the middle of the film? This makes no sense to me at all. These cards usually appear before the film begins or after it ends.