Steven Spielberg’s regular cinematographer Janusz Kaminski, who has been Oscar-nominated six times and won twice, is attached to direct crime thriller “The Postcard Killings,” which Good Films will finance and produce. Sierra Affinity is handling international sales.
Liza Marklund and Tove Alsterdal penned the screenplay, based on James Patterson and Marklund’s 2010 novel. The film will shoot in New York, Munich, Stockholm, northern Sweden and possibly Norway.
The pic centers on New York detective Jacob Kanon, who joins forces with Swedish art critic Dessie Larsson to investigate a seemingly senseless sequence of killings of couples across Europe. Picture postcards are sent to apparently random journalists by the killer, each heralding the next horrific crime. Larsson has just received such a postcard, and she and Kanon must piece together the clues to catch the killer.
Kaminski, who is represented by ICM Partners, has been the cinematographer on 14 of Spielberg’s pics, from “Schindler’s List” to “Bridge of Spies.” His recent directing credits include TV series “The Divide” and upcoming movie “American Dream,” starring Nick Stahl.
Good Films founder and managing director Miriam Segal told Variety: “We were looking for someone who would elevate the project without distancing it from the genre.” She praised Kaminski’s “sensitivity,” his rapport with actors, and his ability to transport the viewer into a movie’s world.
Good Films, which Segal runs with co-managing director Martin Rushton-Turner, is also behind Brad Furman’s “The Infiltrator,” which stars Bryan Cranston, John Leguizamo and Diane Kruger. The film, which Broad Green will release wide in the U.S. on Aug. 31, is also repped by Sierra Affinity.
Good Films’ next pics to go into production are “Labyrinth,” based on the novel by Rolling Stone journalist Randall Sullivan about the murders of Tupac Shakur and the Notorious B.I.G.; and playwright Tena Stivicic’s “Invisible” with Danis Tanovic (“No Man’s Land”) attached to direct.
In development are author and journalist Peter Godwin’s “When a Crocodile Eats the Sun,” author Siri Hustvedt’s “What I Loved” and Ellen Brown Furman’s original screenplay “No Comment.”
Segal, whose films are in the $20 million-$30 million budget range, is British but follows the American independent movie model with a slate of six films to be produced over three years. With the closure of many of the Hollywood specialty divisions, a space has opened up for companies like Good Films to supply thought-provoking, intelligent movies for adult audiences.
Segal said she seeks to make “resonant entertainment.” “I like to make films that absolutely play but allow the audience take something away, and that can be a vast range – some of them will be tougher and will ask a bit more of the audience, and some of them will be a little easier, but they will never have a vacuous experience, so the films will always be memorable and talk-about-able,” she said.