According to Cinando, Ascot Elite Entertainment GMBH will have Theatrical, TV, DVD-video and VOD rights for Robert Pattinson “Good Time” in Germany, Switzerland, Austria, Belgium, The Netherlands and Luxembourg.  I realise Cinando isn’t always accurate, but I’m going with this for now.

So this has been an interesting week in relation to dormant projects for Robert.  It’s especially interesting that The Trap has re-emerged today on Robert’s “in production” list on IMDbPro especially since this morning I was reading an article in Nashville Scene about Harmony Korine’s current art exhibition and noticed that it stated that Harmony has moved permanently to Miami.  I immediately thought that was an omen re The Trap and it turns out it was.  We tweeted an Indiewire/GQ Style article back in September that mentioned that Gucci Mane was on board the film, and so we knew it was possible that Harmony may still make it.  I notice Idris Elba is no longer involved on IMDbPro, but then again – how long did it take for Robert to appear on IMDb for this film – so I’m not going to put too much weight on that.  It has been a good week for Robert’s films hasn’t it.  That’s 3 in the pipeline for 2017 – as we posted yesterday – Idol’s Eye filming in February 2017, High Life in May 2017  – let’s see when Harmony decides this should all happen.  For now I’m just excited that we may get uzi wielding surfie Max.  Stay tuned.

According to Production Weekly, High Life is to film in Cologne & Poland in May 2017.  So as we predicted “Idol’s Eye” first and then “High Life” if all goes to plan.  Fingers tightly crossed.

Thanks Posh.

UPDATED: 12 Nov 2016

IMDBPro also updated on 10 Nov showing filming “this spring”

According to Production Weekly, Idol’s Eye is due to start filming in February 2017 (like we hoped).

Thanks Posh.

I have been waiting for IMDb update and include Idol’s Eye on Robert’s page.  Excellent.  I like the new summary they have added.  It previously said “A group of crooks get in over their heads when they try to rob a pawn shop.”

All systems go – yes pun intended.  THR report exclusively from AFM:

Andrew Lauren Productions is producing and financing the sci-thriller from Claire Denis.

Andrew Lauren Productions has partnered with Alcatraz Films, Pandora Film Produktion, The Apocalypse Films, and Madants to produce and finance High Life, the English-language debut of acclaimed French filmmaker Claire Denis.

…

Andrew Lauren and partner D.J. Gugenheim will produce for ALP, Laurence Clerc and Olivier Thery-Lapiney for Alcatraz, Claudia Steffen and Christoph Friedel for Pandora, and Oliver Dungey for Apocalypse. Klaudia Smeija will co-produce for Madants.

Wild Bunch is handling international sales, with the film set to go into production in Spring 2017.

CAA will handle domestic sales and helped negotiate the deal.

I love this week.

UPDATED:  Extractof Media Release from @RamasScreen – go to Rama’s website to read full release

The film is now fully financed and supported by Arte France Cinema and CNC in France, Film and Medienstiftung NRW, Medienboard Berlin-Brandenburg, Filmförderungsanstalt, Arte/WDR and DFFF in Germany, developed with the British Film Institute and Altaris in Great Britain and financed by the Polish Film Institute in Poland. The producers aim to go into production in Spring 2017.

Lauren commented: “My family first turned me on to Claire Denis when they showed me “Beau Travail” and I’ve been a huge admirer of her work ever since. It’s very exciting to have Claire bring her ability to challenge how we think about the human condition and her unique visual style to the science fiction genre for the first time.”

“High Life” is being scored by British musician Stuart Staples of Tindersticks, who has worked with Denis on numerous projects.   Her team also includes long-time collaborators Agnès Godard as DP and Nelly Quettier as editor.  World-renowned physicist and black hole expert Aurélien Barrau is on board as the project’s scientific consultant.

By coming on to “High Life”, ALP moves towards its goal of producing and financing a robust and eclectic slate focused on commercial and elevated filmmaker-driven stories. [My emphasis]