Scathing Letters

To: Alain De Mata | From: Chris Hanley

alain: to begin with molly was sending the emails for me as I have so many emails ( 480 unread emails at this moment. I am getting over 100 emails a day and responding to as many and my computer is burdoned and therefor I have resorted to molly using her computer for my communications. perhaps she did not make it clear but the email was from me. I would like to point out that you spent a lot of time typing an email that if you compared to the amount of time I put in, and the amount of financing I supplied that one wonders why you would be sending an email like this to molly who as you know is only helping me out with communications at this time and did not develop the movie. On Apr 28, 2004, at 2:46 PM, Alain De Mata wrote: I’m far too busy producing a film, preparing for Cannes and sorting out matters that should have been attended to ages ago – maybe by you, since you seem to claim some sort of authority concerning the film – to deal with asinine bullshit. But in your case I’ll make an exception… By the way, where were you when we I had to pay for the development of the film? When we raised money to finance the film? When we had to raise even more money when certain investors failed us? Where were you during the shoot, to assist Asia? Where are you now? Helping Jennifer Booth and Jim Mol with post-production? this is there job Helping Kevan Wilkinson with dialogue lists and subtitling to ensure the print is ready in time to screen in Cannes? this is his job Helping Brian Young with interviews, director’s photographs, talent bios to create Cannes press kit? brian is the manager of our essential cast and director and he is one of the people I have been lobbying to get a plane ticket for ( especially since he requested that I pay for it personally and that would include you paying for it persoanlly as well since Above All Things Inc has no budget for this which is the entity requested to pay for his ticket by Brian –I was hoping that marketing would cover this , which is the reason, simply to save money I suggested that if a ticket were to be paid by the marketing side to carry two prints then the producers could maybe use this method to get tickets. Only trying to save money. Where were you when I asked in November for the still photographs to be authorised by the cast? jen booth –pushed by lorna in my office has had this request for one month –it takes time and I do not have confirmation that the agents and managers have the print outs of the 1000+ photos for the 50% kill rights they have Where were you when I requested DVDs, and CDs of the soundtrack weeks ago? I requested the CD Soundtracks 3 weeks ago. you did not. and I cannot fathom why they have not been sent to you at Blue Light, and to Soo Jun Bae at Artist Film — I have made 5 phone calls and sent 10 emails in this regard to post production. and to Gerry Gershman the music super to get this done. The DVD I have requested to Post –where we have already paid 0 to create a DVD copy master so that copies cost only .00 –some three weeks ago and I am not sure if this was sent to you and to Artist Film in Japan. I have asked Post Production and my office through Lorna to get this done and believe that perhaps it is finally taken care of. the two copies I have requested to be sent to you , one can go to Gianluca per his request in your discretion. Where were you when, on March 15th, Anne-Marie Varona was asking for the umpteenth time for someone to fill in the double-taxation form or obtain a simple letter so Wild Bunch could make payment? Lorna had had this , and myself , and it got lost in the shuffle , becuase getting the signature from the tax authorities can take up to two months! I have always made this clear that this is a arduous task which takes days and days — I have requested that Answer… you were nowhere. again — a foolish waste of typing when the email was clearly through molly on my behalf — especially since I was the biggest investor in production, and clearly spent the most hours. How do you explain the fact that the only people I’m talking to all day, and all night, round the clock, are Brian Young (talent avaibility and travel arrangements, PR, sponsors) and Jennifer Booth, to follow post-production or even Tricia? How do you explain the fact that, while I’ve never had the slightest need to contact you for anything whatsover regarding the film so far, you are clearly such an authority that you feel qualified to lecture me on how things work in the film business? again, all the persons you refer to are supposed to be doing the job they are doing. brian young has not gotten any fees but he did get Asia Argento , Jimmy Bennet, and John Robinson signed to his agency due to my efforts, so I hope that Untitled benefits from this and his arduous work is valid. Tricia was paid quite well under the Curiously Bright deal terms and is validly working on behalf of that Investor. Molly and I and Roberta have far more communications to her and Lilly Bright than you are aware on the matter of this film and from your POV where you can only percieve a fraction of the activity on this film having to do with marketing and delivery, which is Kevan Wilkanson, Jen Booth, and Wild Bunch’s particular job on this film , you should not be wasting statements in the way that you have herein. “Bottom line”: I have my own money in this film, I’ve risked a lot of my company’s money in it (Wild Bunch), I’ve asked my Paris office to spend hours working deals to finance this film and I’ve put in millions of hours trying to make it possible for Asia’s film to exist. I hear that you will be present in Cannes: how crucial is your presence to the good fortune of the film there? Perhaps you’ll reveal your purpose… molly and her travel arrangements have never been a part of any emails in regard to this film . All the emails sent were in regard to having the France marketing side handle the economy plane ticket arrangements for Brian Young, Chris Hanley , and Roberta Hanley — I can always place this in my producing agreement and Brians ( which we should do at this thime) as business class for Cannes premieres and make it contractual for marketing to pay if you wish. I am again only tryiing to save money for myself , brian, and Above All Things ( you). Chris H Above All Things Inc Kind regards, Alain de la Mata