
The 2011 Cannes Film Festival doesn’t get under way until next week, but the market is already getting busy. Sierra/Affinity, which will be handling such titles as the Gavin Hood-directed adaptation of Ender’s Game, has bolstered its sales force by hiring Jonathan Kier as exec veep of sales. Kier was senior veep of international sales and distribution for The Weinstein Company. Sierra/Affinity principals Nick Meyer and Marc Schaberg will be handling product for Sidney Kimmel Entertainment, OddLot, Bold Films and Incentive Filmed Entertainment. …
Paul WS Anderson is re-teaming with his Three Musketeers collaborators Constantin and Summit on Pompeii, a period pic which builds drama around the 79 A.D. eruption of Mount Vesuvius. That was a devastating explosion estimated to have been more powerful than the atomic bomb that destroyed Hiroshima. The subject matter, and its impact on Rome, is something James Cameron has long wanted to cover in grand detail, after his Lightstorm optioned the Charles Pellegrino book Ghosts of Vesuvius, with plans to do the same kind of thorough forensic recreation as he gave to Titanic. Anderson, who raced and beat a rival Musketeers movie, will certainly get under way first, as Summit will sell the movie in Cannes. …
Camelot Entertainment Group has acquired foreign distribution rights to Norman, a coming-of-age story about a high school student dealing with his father’s terminal illness. Jonathan Segal directs and the film stars Dan Byrd, Emily VanCamp, Adam Goldberg and Richard Jenkins. The film has played various festivals across the U.S.


Plain and simply Gavin Hood needs to walk away from the director seat for a while. Just recently learning that he will be headin the production of Ender’s Game only makes my blood boil even more then when I remember what he did to X-Men Origins:Wolverine. His production team ruined one of the most beloved Comic characters in a live action format. As production executives, teams, and finaciers they need to stop thinking about how much they’re going to make from revenue and start considering the oppinions of the very peope who made the original material popular. Production companies are becoming so intangled in the rat race of who can obtain the rights to the next rebot and how many sequels they can push out that the greatness that is the original material is lost to the possibility of acquiring new fans and keeping the love of old fans. Let’s stop this obsession of compatition and help these individuals of power realize that these “rights” to make these films doesn’t belong to them. They belong to the us.