![]() The Imitation Game Jack English/Weinstein Co./Courtesy Everett CollectionĮlevation’s success in a Canadian market that represents one-tenth of the North American box office comes from a focus on nurturing every theatrical release, rather than relying on volume. One of the indie’s first releases was the Schwarzman-produced The Imitation Game (2014), which brought in $10 million at the Canadian box office and earned an Oscar from eight nominations. “I felt like we could create Elevation and make a significant and meaningful contribution to the Canadian distribution landscape,” Schwarzman tells THR. ![]() ![]() The objective: introduce a local mini-major that would specialize in commercial indies and auteur-driven titles, too. It was Black Bear topper Teddy Schwarzman who put up Elevation’s early financing after a pitch from May and Segal, setting the groundwork for Elevation to compete against bigger players in the Canadian distribution scene, including Toronto-based juggernaut Entertainment One.įor Schwarzman, investing in upstart Elevation allowed his U.S.-based company to fill a Canadian market gap after Alliance was acquired in 2012 by eOne and brought under its umbrella. “The people involved in this company, myself and Noah and Adrian Love and Jeremy Smith, everyone here has many years of experience in the industry and really wanted to build a company that was passionate about Canadian films and films that cross borders and elevate content,” says May.Īs a result, Elevation has steadily risen to the top in Canada by combining its indie cred (and an expanding TV production arm) with deep pockets from major investor Black Bear Pictures. As veterans of earlier players like Lionsgate’s Canadian arm and Alliance Films, the duo knew they had enough hands-on experience - and connections - in distribution to venture out on their own. May and Segal were hardly new to the indie business when Elevation launched. It’s important that it’s a queer movie and important that it doesn’t take itself too seriously.”Ĭoen is directing “Drive-Away Dolls” from a script he co-wrote and produced with Cooke.'Dark' Star Oliver Masucci on Blowing Up German Cold War History with 'Herrhausen - The Banker and The Bomb' “There aren’t that many movies of these films about lesbians. “It’s that kind of movie where the plot is fun,” adds Coen.Ĭooke stresses the film is a queer movie. It’s not their first time working on solo projects, though - Joel Coen adapted “The Tragedy of Macbeth” in 2021 with Denzel Washington and Frances McDormand.Ĭooke has worked as an editor or associate editor on many of the Coen brothers’ films, including “O Brother, Where Art Thou?” and “The Man Who Wasn’t There.” She says the inspiration for the film was the 1992 film “Poison Ivy” starring Drew Barrymore. Everyone was talking about him right after we finished shooting.”Ĭoen, the Oscar-winning director and screenwriter of “Fargo” and “No Country for Old Men,” is making the film without his brother and frequent collaborator Joel Coen. Says Cooke, “He’s fascinating to watch and his upward trajectory. Thanks to HBO’s “The Last of Us,” Pascal has become a phenomenon since the film was shot. “The actors sink their teeth into it and they just have fun with it, and they go to town with it,” says Coen. It features an impressive cast that includes Beanie Feldstein, Pedro Pascal, Colman Domingo, Bill Camp and Matt Damon. Making a queer movie that was fun, playful and didn’t take itself too seriously especially back when we wrote it in 2002 seemed like a really fun and interesting idea.” She says, “I’m queer, and I’ve always identified as queer. Cooke adds the film is a queer film with Jamie and Marian’s relationship dynamic also featured as part of the narrative.
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