Gravitas Ventures has picked up VOD rights to Fight to Live, the documentary from two-time Oscar winner Barbara Kopple. The film details the struggles of bringing a drug to market through the Fda and the many people that die waiting for "compassionate use" of the drug to be allowed. It's produced by Kopple alongside Glenn Rigberg, Carla Woods and Hilary Birmingham in association with Cabin Creek Films and Inphenate. Story: Indie Firestorm: What if VOD Revenue Was Made Public? Gravitas will release Fight to Live, which first premiered at the Woodstock Film Festival in 2012 before making the rounds
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- 11/15/2013
- by Rebecca Ford
- The Hollywood Reporter - Movie News
Brazilian-born composer Marcelo Zarvos slowly but surely makes his steps in the world of film music by gathering better and bigger credits. Having parallele careers in jazz and film music, Zarvos' first commercially released score was written for the Kim Basinger / Jeff Bridges drama The Door in the Floor. Since then, he worked on the nostalgic Hollywoodland and started collaborating with Robert De Niro on The Good Shepherd and the satiric What Just Happened. Zarvos He recently completed Taking Chance (released by Varese Sarabande) and by the time you read this, Lakeshore Records has already released his score to Sin Nombre.
What was the situation of film and film music in Brazil when you grew up?
Brazil's film industry has had many ups and downs and when I was growing up there wasn't much going on. The renaissance of Brazilian film really only happened in the 1990's when I...
What was the situation of film and film music in Brazil when you grew up?
Brazil's film industry has had many ups and downs and when I was growing up there wasn't much going on. The renaissance of Brazilian film really only happened in the 1990's when I...
- 5/6/2009
- Daily Film Music Blog
Based on an O. Henry Prize-winning story by Tom McNeal, director/co-writer Hilary Birmingham's feature debut is a straightforward tale of family farmers in the Midwest and, in particular, one young man's emotionally wrenching path to manhood.
Featuring standout performances by several cast members, including Anson Mount as the title character, "What Happened to Tully" won over audiences and critics at the Los Angeles Independent Film Festival, which closed April 18, claiming two awards. But the film is perhaps in need of more fine-tuning before it connects significantly with paying audiences. A modest theatrical release seems likely.
There are many good things about "Tully", from the leisurely pace devoid of shock techniques and flashy visuals to the believable characters and dialogue. With a background in documentaries, Birmingham brings a non-Hollywood sensibility to material that might have been more commercialized (with decidedly less-noteworthy results).
However, the forward momentum, particularly during the second half, gets bogged down in one-on-one scenes showcasing the actors' talents. One's fascination with such seemingly genuine characters begins to fade as they face thornier problems of crumbling family dynamics, looming foreclosures and a dark secret with potentially disastrous ramifications.
A tractor driver and all-around farm worker, Tully Coates (Mount) is handsome, rugged and a hit with the girls. Be it the projectionist at the local cinema or a "burlesque"-performing wildcat (Catherine Kellner), Tully has no shortage of candidates for summertime fun in and on top of his car out in the woods. Tully's brother Earl (Glenn Fitzgerald) is in his shadow, too shy and nervous to approach the girl he's interested in but not such a misfit that he won't eventually find happiness.
Returning for the summer from veterinary school, local girl Ella (Julianne Nicholson) is good friends with Earl, but from the start it's apparent that she's almost on the same wavelength as Tully. She makes fun of his promiscuous ways and finds amusement when things don't last. "What's it like to drive women crazy?" she asks jokingly. He's not sure if she's another potential conquest or something more serious.
Tully's quiet, introverted father (Bob Burrus) is grooming him to take over the farm, but there's minor friction over the former's girl trouble and Tully Sr.'s not including his son in decisions. The official story of Tully and Earl's missing mother is that she died 15 years earlier in a car crash, but the truth is something else. When the father is served a foreclosure notice as a result of someone mysteriously running up enormous medical bills, the sad facts start to come out.
Building to several heavily emotional scenes between father and sons, son and son or Tully and Ella, the film takes too long to reach the lovely final shot, but the journey is worth it. Mount ("Boiler Room") is impressive in a meaty role, exuding strength and confidence that should win him ardent fans. The freckled Nicholson ("The Love Letter") is a joy to watch, with her distinct looks and easygoing technique. Burrus ("Southern Comfort") is also superb as a man torn asunder inside. His scenes with Natalie Canerday ("October Sky") as a storekeeper are some of the film's sweetest and most memorable.
Filmed mostly in Nebraska and Iowa with Birmingham and cinematographer John Foster employing many long takes and much indirect lighting, "Tully" is visually satisfying, but the actors and scenery, as well as the dramatic force in several scenes, are undercut by Marcello Zarvos' distractingly routine score.
WHAT HAPPENED TO TULLY
Tell Tale Films
Credits: Director: Hilary Birmingham; Screenwriters: Matt Drake, Hilary Birmingham; Based on a story by: Tom McNeal; Producers: Hilary Birmingham, Annie Sundberg; Director of photography: John Foster; Production designer: Mark White; Editor: Affonso Goncalves; Costume designer: Christine Vollmer; Music: Marcello Zarvos. Cast: Tully: Anson Mount; Earl: Glenn Fitzgerald; Ella: Julianne Nicholson; Tully Sr.: Bob Burrus; April: Catherine Kellner; Claire: Natalie Canerday. No MPAA rating. Color/stereo. Running time -- 104 minutes.
Featuring standout performances by several cast members, including Anson Mount as the title character, "What Happened to Tully" won over audiences and critics at the Los Angeles Independent Film Festival, which closed April 18, claiming two awards. But the film is perhaps in need of more fine-tuning before it connects significantly with paying audiences. A modest theatrical release seems likely.
There are many good things about "Tully", from the leisurely pace devoid of shock techniques and flashy visuals to the believable characters and dialogue. With a background in documentaries, Birmingham brings a non-Hollywood sensibility to material that might have been more commercialized (with decidedly less-noteworthy results).
However, the forward momentum, particularly during the second half, gets bogged down in one-on-one scenes showcasing the actors' talents. One's fascination with such seemingly genuine characters begins to fade as they face thornier problems of crumbling family dynamics, looming foreclosures and a dark secret with potentially disastrous ramifications.
A tractor driver and all-around farm worker, Tully Coates (Mount) is handsome, rugged and a hit with the girls. Be it the projectionist at the local cinema or a "burlesque"-performing wildcat (Catherine Kellner), Tully has no shortage of candidates for summertime fun in and on top of his car out in the woods. Tully's brother Earl (Glenn Fitzgerald) is in his shadow, too shy and nervous to approach the girl he's interested in but not such a misfit that he won't eventually find happiness.
Returning for the summer from veterinary school, local girl Ella (Julianne Nicholson) is good friends with Earl, but from the start it's apparent that she's almost on the same wavelength as Tully. She makes fun of his promiscuous ways and finds amusement when things don't last. "What's it like to drive women crazy?" she asks jokingly. He's not sure if she's another potential conquest or something more serious.
Tully's quiet, introverted father (Bob Burrus) is grooming him to take over the farm, but there's minor friction over the former's girl trouble and Tully Sr.'s not including his son in decisions. The official story of Tully and Earl's missing mother is that she died 15 years earlier in a car crash, but the truth is something else. When the father is served a foreclosure notice as a result of someone mysteriously running up enormous medical bills, the sad facts start to come out.
Building to several heavily emotional scenes between father and sons, son and son or Tully and Ella, the film takes too long to reach the lovely final shot, but the journey is worth it. Mount ("Boiler Room") is impressive in a meaty role, exuding strength and confidence that should win him ardent fans. The freckled Nicholson ("The Love Letter") is a joy to watch, with her distinct looks and easygoing technique. Burrus ("Southern Comfort") is also superb as a man torn asunder inside. His scenes with Natalie Canerday ("October Sky") as a storekeeper are some of the film's sweetest and most memorable.
Filmed mostly in Nebraska and Iowa with Birmingham and cinematographer John Foster employing many long takes and much indirect lighting, "Tully" is visually satisfying, but the actors and scenery, as well as the dramatic force in several scenes, are undercut by Marcello Zarvos' distractingly routine score.
WHAT HAPPENED TO TULLY
Tell Tale Films
Credits: Director: Hilary Birmingham; Screenwriters: Matt Drake, Hilary Birmingham; Based on a story by: Tom McNeal; Producers: Hilary Birmingham, Annie Sundberg; Director of photography: John Foster; Production designer: Mark White; Editor: Affonso Goncalves; Costume designer: Christine Vollmer; Music: Marcello Zarvos. Cast: Tully: Anson Mount; Earl: Glenn Fitzgerald; Ella: Julianne Nicholson; Tully Sr.: Bob Burrus; April: Catherine Kellner; Claire: Natalie Canerday. No MPAA rating. Color/stereo. Running time -- 104 minutes.
- 4/25/2000
- The Hollywood Reporter - Movie News
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