Category Archives: Press
By Kristin Brzoznowski, Worldscreen.com
Published: March 30, 2015
LOS ANGELES: BoPaul Media Worldwide has placed a trio of action movies with Arrow Films in the U.K., while another three films were sold to RTL Nitro in Germany.
Arrow Films licensed Wild Geese, Zulu Dawn and Ashanti. RTL Nitro went for Porky’s, Porky’s II: The Next Day and Porky’s Revenge.
By Joanna Padovano, Worldscreen.com
Published: March 17, 2015
LOS ANGELES: Next month in Cannes, BoPaul Media Worldwide is set to introduce international buyers to The Big Big Show, a new talent competition series starring Tom Green, Andrew Dice Clay and Tara Reid.
The Big Big Show will be presented by Tommy Habeeb, the EP and host of Cheaters. The 24×1-hour weekly program will feature “hair-brained talent” and “crazy consequential antics.” It is due to debut in September on TV stations covering 70 percent of the U.S., including New York, Los Angeles and Chicago. Sinclair Broadcast Group is on board with more than 20 participating stations.
By Joanna Padovano, Worldscreen.com
Published: January 26, 2015
LOS ANGELES: BoPaul Media Worldwide (BMW) has signed agreements for four titles from its catalogue, which currently contains more than 2,000 hours of content.
The pay-TV rights for Zorro, the Gay Blade, led by George Hamilton, have been snapped up by Morefilms in Germany. Wild Geese, starring Richard Burton, is headed to TV3 in Ireland.
Superfine Films in India went for Piranha 2: The Spawning, which is directed by James Cameron and produced by Ovidio Assonitis. Japan’s Zazie Films licensed Somebody Killed Her Husband, starring Jeff Bridges and Farrah Fawcett Majors.
WorldScreen.com, Published: October 12, 2014
CANNES: One of the world’s most widely circulated men’s lifestyle television series, Bikini Destinations, is back in production thanks to a new joint venture between the show’s creator, Bennett Productions, and the distributor of the original series, BoPaul Media Worldwide.
“We are proud to say that we have relicensed the Bennett Productions library, including the new season five of the universally popular Bikini Destinations series, the new series Cash Bar, and other men’s lifestyles standards such as The MEN7 Show, The Wild Side and Ski Tour,” says Paul Rich, the CEO of BoPaul Media Worldwide.
He adds, “We are seeking to acquire more classic films, as well as men’s lifestyle programs, at this MIPCOM. We will be meeting with a number of copyright owners and producers who we have targeted for this.”
The deals were for the company’s vintage catalog films. France’s Artus Films/Lilliom Audiovisuel has nabbed the video and VOD rights to the Paul Naschy-directed horror film Hunchback of the Morgue. Meanwhile, Turner Movie Classics acquired the U.S. pay-TV and VOD rights to Zulu Dawn, the 1979 saga shot in Africa and starring Burt Lancaster.
Finally, Morefilms in Germany went with the Academy Award-winning The Stuntman, starring the late Peter O’Toole, along with Zorro the Gay Blade with George Hamilton.
By Joel Marino, Worldscreen.com
Published: October 6, 2014
LOS ANGELES: Mexico’s Azteca has picked up 30 episodes of the show Bikini Destinations, including two episodes of the new season, from distributor BoPaul Media Worldwide.
Another 11 episodes of season five are currently in preproduction for shooting by Bennett Productions at locations in Australia, Fiji and Central America. Casey Bennett, who created the series in 2001, continues as its chief cinematographer and producer.
Azteca was one of the first licensees of the show when it launched in 2005. The series, one of BoPaul’s MIPCOM highlights, has been filmed in 40-plus countries and sold into 85 markets.
LOS ANGELES: Bennett Productions and BoPaul Media Worldwide have formed a joint venture to bring back the series Bikini Destinations, which will be shot in the South Pacific and Australia for a late 2014 or early 2015 release.
The new episodes will make up the show’s fifth season, which has already filmed two HD episodes in Roatan and at the Sundance Film Festival. Bennett, the original show’s creator, and BoPaul will co-finance the series’ projected 13 half-hour episodes. BoPaul initially licensed the series from 2005 to 2010 under the name Bennett Media Worldwide.
The joint venture between the companies will also result in other new TV series, including the reality show Cash Bar.
For Immediate Release
Los Angeles – Building momentum heading into MIPTV, BoPaul Media Worldwide announces three licensing agreements for its vintage films – two in Germany and one in the United Kingdom.
In Germany, the hit teen comedy trilogy “Porky’s,” “Porky’s: The Next Day”, and “Porky’s Revenge,” and “Seven” – all released originally by major U.S. studios and since upconverted to HD — were sold to Morefilms for pay TV rights, and six Paul Naschy-starring horror titles to Subkultur Entertainment for home video/VOD rights. The sales were announced by Monique R. Nayard, BMW’s senior sales executive.
The Naschy titles, four of which have been upconverted to HD, include: “A Dragonfly for Each Corpse”, “Vengeance of the Zombies”, “Horror Rises from the Tomb”, “Night of the Werewolf”, “Blue Eyes of the Broken Doll” and “The Devil’s Possessed.” Last year, Subkultur had bought from BMW the same rights to the recently-produced bio doc on Naschy entitled “The Man Who Saw Frankenstein Cry” featuring iconic directors John Landis and Joe Dante. Subkultur is planning to release a special Naschy DVD box set later this year.
“The Visitor”, produced and directed by Italy’s Ovidio Assonitis, was licensed for home video/DVD rights to Arrow Films in the UK.
BMW is a worldwide film and television distribution company headquartered in Encino, California. It is owned and operated by veteran distributor Paul Rich (formerly head of Metromedia Producers Corp. and De Laurentiis Entertainment Group’s television division, and CEO/co-owner Trans Atlantic Entertainment). BMW has more than 1,300 titles in its catalog, including such classics as “Citizen Kane”, “Wild Geese,” the new documentary film “Ray Harryhausen: Special Effects Titan”, and British theatrical release “Mrs. Caldicot’s Cabbage War”. (Website: www.bopaulmedia.com)
Press contact: Cindy Nardiello (email@example.com).
Last week, Rob Hunter was so befuddled and inspired by Drafthouse Films’s newest resurrection project The Visitor that he coined a term to make sense of it: “WTF Cinema.” Says FSR’s resident critic Lorde Mayor,
“Basically, these are movies that consistently challenge expectations (both visual and narrative) to the point that viewers have literally no idea what to expect. This has nothing to do with plot twists, reveals, or shock endings, and instead has everything to do with leaving an audience in a frequent state of head-scratching awe as the unexpected appears onscreen again and again.”
Hunter’s coinage is a useful idiom to describe (or express one’s total failure to describe) a certain type of movie that defies easy comprehension or simple justification for its existence. But I think there’s another aspect of The Visitor worth focusing on that tells us a lot about why it’s taken on this wonderful WTF currency: The Visitor, despite not having been re-edited since its initial theatrical run, is in no way the same film it was when originally released. The Visitor is a film of 2013 more than it ever was a film of 1979.
Helmed by Fellini’s assistant director on 81⁄2 Guilio Paradisi (working here under the incredible pseudonym of Michael J. Paradise), The Visitor features an improbable cast led by legendary filmmaker John Huston who, as the film’s protagonist, is some sort of otherwordly cult follower who travels to then-modern day Atlanta to kill an eight-year-old girl who possesses demonic tendencies that run the gamut from ruining basketball games to violently abusing the disabled to laying down F-bombs with a full-throated Georgia accent and bravura after-school-special delivery. Huston, fresh off Chinatown and perfectly content with funneling most of his acting skills toward his considerable talent for being tall, inexplicably takes his damn time ridding the peach state of the
young demon spawn, and doesn’t even lift a finger when the girl shoots her mother during a birthday party. Oh, and Lance Henriksen, Glenn Ford, Sam Peckinpah, and Shelly Winters fill the bill, with an uncredited Franco Nero rounding out the cast as a bleach-haired Christ figure.
As batshit as it might sound, The Visitor is not without context. The film attempted to bank off of the popularity of prior horror films about possessed or demonic children (The Exorcist and The Omen) while at the same time seeking to benefit from the recent sci-fi craze (several moments starkly resemble – i.e., rip directly off of – Close Encounters of the Third Kind). Yet these efforts at genre relevance make The Visitor into something of a narrative soup that never mixes quite right. Yet in terms of its originating historical context, it’s not too much of a stretch to imagine that the same 1970s which gave us Logan’s Run and The Man Who Fell to Earth also gave us something as fuck-you-freakish as The Visitor.
But that’s exactly the point – now that the film has been “rediscovered,” re-released, and reconsidered outside of its initial commercial context, The Visitor’s excesses, narrative incoherence, and outright bizarre stylistic choices come across as original and inventive, as a frame entirely without a reference. It feels as if one is watching a mainstream narrative film as might be seen by space aliens. That which was tired and derivative upon The Visitor’s initial release now comes across as brazenly unorthodox and downright avant-garde. It’s not that The Visitor is a great film (note: The Visitor is not a great film), but as a film that has existed almost entirely without a past up until this point, The Visitor resonates as a bizarre lost annal of film history that feels like it never should or could have existed, despite the fact that it most certainly, adamantly does. It’s not a film that was too good or forward-thinking in its time, but is simply one that can be better appreciated in ours, like an insipid wine that somehow came to a delicious peak after 34 years. Except instead of wine, The Visitor is more like confetti-flavored moonshine.
As I’ve written about elsewhere, cinephilia can be a difficult and frustrating practice in the information age. Discovery and surprise are increasingly hard to come by, so it’s something of a wonder that The Visitor (as with other Drafthouse titles) didn’t see a natural cult progression; after all, The Visitor was never a “lost” film. It’s been right under our noses in databases, videostores, and the occasional cable run for decades; what exists now is a framework provided by a distributor known for its sincere affection for the belligerently weird.
So despite the fact that The Visitor was theatrically released in 1979, can it properly be considered a film of 2013, where it is clearly (even amongst the few who have seen it) more beloved than it ever was? After all, Drafthouse isn’t staging this as a re-release like the restoration of Metropolis; the distributor supposed (and quite rightly so) than none of us ever knew the film existed in the first place. It’s a re-release staged as a coming out.
The Visitor isn’t the first film to pose this question. Few but notable films have held the strange honor of witnessing a championed release years or decades after their completion and exhibition elsewhere. In 2006, Army of Shadows, Jean-Pierre Melville’s masterful depiction of the French Resistance against the Nazis, was theatrically released for the very first time on US screens, a long 37 years after its French release. The film made it to the very top of several of that year’s Top 10 lists alongside more contemporaneous films like Children of Men and Pan’s Labyrinth. Released in the US 33 years after the death of its director, Army of Shadows spoke volumes more to the film culture and business of 1969 than it did to that of 2006. Yet the film’s trans-continental exhibition circumstances made it, for all intents and purposes, a “2006 film.”
The delineations by which critics choose their top 10 lists are often arbitrary and sometimes confusing, based within an assumed allegiance to either the timing of festivals or tabs on the commercial release calendar (which many festival films don’t ever see). We moreover rarely deal with the distance between production and release. Many films released during the same year could have been made during a variety of intervals in the past. At what point in that past, then, does a “newly” released film seem not to belong to the year of its release?
This question proved particularly intriguing with the long-awaited of Kenneth Lonnergan’s Margaret. Shot in 2005, the film was shelved and subject to some serious legal entanglements over its length (previously running over 3 hours). Margaret was finally released, sans promotion, in spurts, championed by critics and word-of-mouth, beginning in the late fall of 2011. Sporting performances by an evidently younger Anna Paquin and Olivia Thirlby, and overflowing with themes of post-9/11 malaise, Margaret feels strangely yet profoundly 2005, and seeing the film after years of delay felt less like the belated unveiling of a timeless masterwork and more like looking into a potently insightful time capsule of a history so recent one would think it’d be impossible to feel dated.
LOS ANGELES: BoPaul Media Worldwide has licensed a range of titles to the Japanese video distributor Medallion Films, among them thePorky’s trilogy.
Four titles from the Melvin Simon/Video Mercury catalogue were licensed for pay- and free-TV rights to Medallion. These are Porky’s, Porky’s II: The Next Day, Porky’s Revenge and My Bodyguard.
BoPaul signed two other deals with Medallion late last year. These were for the Victory Films titles Wild Geese, Ashanti and Zulu Dawn, and for the Paul Naschy-starring vintage horror films Human Beast andThe Hunchback of the Morgue.