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The recent spate of new hires at the Weinstein Co. — including Bladimiar A. Norman as veep of marketing, plus a couple of promotions for current TWC execs — is part of an intensive post-restructuring strategy to man key divisions as the company prepares to roll out a busy slate.

“We cautiously brought the company down to an ideal size and are now adding some strategic and key department heads,” said international prexy David Glasser, who’s added the chief operating officer title as well. He joined TWC in 2008.

As TWC beefs up its staff, the goal is for the production slate to include four films per year from TWC and four from Dimension, with about a half-dozen acquisitions added to the mix. Under the reorganization, Harvey and Bob Weinstein will have more direct access to division heads.

The strategic moves include upping Andrew Kim to chief financial officer. Joining the company in 2005, Kimwas most recently senior veep of finance and business development.

Norman, whose hiring was announced Monday, will run day-to-day marketing operations. Harvey and Bob Weinstein have not ruled out bringing in a bigger marketing gun, but that decision won’t be made immediately.

An interactive marketing veteran, Norman has done stints at Paramount and Warner Bros. Home Entertainment. He was most recently a veep of marketing at 42West. He’s served as digital marketing adviser for pics including “127 Hours” and “Black Swan” and worked on the kudos campaign for “The Hurt Locker.”

Among other new hires, Peter Lawson, formerly with Miramax, is now heading up acquisitions for TWC. He brought Lucas Webb with him from Miramax.

TWC has also made two top production hires in recent weeks, with Donna Gigliotti, who worked with the Weinsteins on pics including “Shakespeare in Love” and “The Reader,” heading up production for TWC. Brad Luff is filling the same top post at Dimension.

“Donna’s going to look for the kind of pedigreed projects that she and Harvey have had in the past, as well as looking for commercial and mainstream pictures,” Glasser said. “Brad will be executing Bob’s directive in bringing Dimension back to the projects for which it’s so well known.”

Current TWC productions include Michelle Williams starrer “My Week With Marilyn” and “I Don’t Know How She Does It” with Sarah Jessica Parker, while Dimension is in production on a pair of franchise outings, “Scream 4” and “Spy Kids 4.”

Over the weekend, TWC picked up world rights to sci-fi thriller “Apollo 18,” which it will release next spring. The company’s busy international sales arms is shopping foreign rights at AFM.

Dimension’s development activities are expected to take advantage of the company’s properties including “Scanners,” “American Werewolf in London,” “Hellraiser,” “Children of the Corn” and “Thanksgiving Day.”

TWC is widely expected to make a resurgence on the awards circuit this year with “The King’s Speech,” “The Tillman Story,” “Blue Valentine” and “The Company Men.” All bow in theaters between now and the end of the year.

The staffing moves at TWC follow a debt restructuring deal completed with Goldman Sachs in June, giving Goldman and insurance company Assured Guaranty ownership of some 200 pics from the company’s library. In exchange, TWC’s debt was wiped away.

Glasser and the Weinstein brothers are intent on keeping the company’s financial house in order going forward. Also on the list of recent new hires is finance vet David Hutkin, whose expertise with entertainment industry deals and relationships in the financial sector is expected to facilitate new relationships and help with brewing deals.

Hutkin is starting a new Strategic Initiatives, Investments & Banking Group division at TWC.

A week ago, TWC and Stewart Till’s U.K.-based Icon announced they are teaming on a film finance production fund backed by Len Blavatnik’s Access Industries that could reach up to $100 million for films budgeted in the $5 million- $20 million range.