'Pulp Fiction' exec producer brings first screenwriting gig to Toronto
Two decades ago, Quentin Tarantino’s “Reservoir Dogs” stunned the Sundance Film Festival and boosted the status of the indie film — while also laying the groundwork for “Pulp Fiction.”
Richard Gladstein had helped Tarantino secure the financing for “Dogs,” which Miramax bought. He went on to a stint at the shingle, exec producing “Pulp Fiction” before founding Film Colony and producing “The Bourne Indentity” and two Best Picture Oscar nominees — “The Cider House Rules” and “Neverland.”Gladstein is at the Toronto Intl. Film Festival this year for the world premiere of “The Time Being,” which he produced and co-wrote in his first screenwriting gig. Frank Langella and Wes Bentley star in the drama co-written and directed by first-time filmmaker Nenad Cicn-Sain.
Gladstein financed the film entirely with his money and additional coin from friends — and asserts that Cicn-Sain could be on the verge of a breakthrough.”I’ve gone back to my ‘Reservoir Dogs’ roots — small-ish film selling at a festival,” Gladstein said. “Ninad is born to be a filmmaker because he’s got such a unique voice. He’s more introspective than Quentin was at that point.”
Bentley portrays a young painter struggling to support his family who’s extended a lifeline in the form of a benefector, played by Langella. Pic explores the murky relationship between two men, along with the uncertainties of marriage, parenthood and friendship.
For Gladstein, “The Time Being” is deeply personal, as he was separating from his wife of 17 years while working on the script.
“In ‘Neverland,’ it was a question of, ‘Where do you draw inspiration, and what are the consequences of falling in love?” he notes. “In ‘Cider House,’ it’s ‘Whose rules do you follow?’ In this case, it’s a question of ‘What does art mean?’ … so it’s sort of an emotional thriller.”
“The Time Being” also stars Corey Stoll (“Midnight in Paris”), Sarah Paulson and Ahna O’Reilly. Cinematographer is Mihai Malaimare, who also shot Paul Thomas Anderson’s “The Master.”
Gladstein says he has no plans to switch careers, adding. “The writing on this really is gravy, but I will go back to my day job.”