Princess debuts with full plate

August 08, 2008 The Tribeca-based production company is launching with four literary adaptations and an original romantic comedy. The slate includes a screen version of Carrie Karasyov and Jill Kargman's satirical novel "Wolves in Chic Clothing," in which three Park Avenue heiresses try to make over an outsider for sport, only to discover they've picked the wrong girl. -- Mike Gayle's No. 1 British best-seller "My Legendary Girlfriend" (adapted for the screen by Adam Kleid and Christine Scowley)

My Legendary Gilfriend is another spec sale for the scribes. Kleid is attached to direct the project and will also produce alongside Princess Pictures. The screenplay is based on the bestselling novel by author, Mike Gayle. The romantic comedy script centers around a guy that gets dumped by the love of his life on his birthday and has a severe case of post-breakup blues - the script is in the vain of a male "Bridget Jones". After falling in love with the book, Kleid and Scowley optioned the property, adapted it, and sold it. The Project is aiming to begin production in the near future.

Revolution takes 'Two'
Scribes nab low six figures to adapt Gayle novel
Revolution Studios has dinner reservations with Roth/Arnold Prods, picking up the spec script "Dinner for Two" from scribes Christine Scowley and Adam Kleid. The romantic comedy was brought into Roth/Arnold last week by Desi Van Til, making her first acquisition only days after joining the production entity, formed by Donna Roth and Susan Arnold, as its director of development.
A former Revolution staffer, Van Til had worked for creative exec Greg Silverman as his assistant at the studio and followed him to Warner Bros., where he was hired as veep of production.
Scowley and Kleid are being paid low six figures to adapt Mike Gayle's British novel "Dinner for Two," about a man who takes a job as an advice columnist for a teen magazine, only to discover that one of his advice seekers turns out to be his illegitimate daughter. Keeping the girl a secret from his wife becomes a problem after the man begins spending too much time with girl, raising suspicions of infidelity.
Revolution partner Todd Garner will oversee development of the pic for the studio.
Revolution and Roth/Arnold are currently readying the Jennifer Garner laffer "13 Going on 30," which begins lensing in the spring.
Scowley and Kleid are repped by Benderspink-based Mason Novick.
© 2002 Reed Business Information © 2002 Variety, Inc.

Posted: Tue., Oct. 1, 2002, 10:00pm PT

R&B FM readies 3 film projects 'Game,' 'Breaker,' 'Driving' now casting By CHARLES LYONS
NEW YORK -- R&B FM, a production arm of Gotham entertainment law firm Rudolf & Beer that's run by production head Lisa Fragner, has unveiled three projects for which it has secured financing. The projects are Chris Slater's "True to the Game," Christine Scowley and Adam Kleid's "The Breaker Upper" and Nicole Burdette's "You're Driving Me Crazy." Each pic's budget is under $5 million. All three projects are casting.
"True to the Game," which Slater will helm from his script, is set in the world of hard-core rap and follows an aspiring rapper caught up with the wrong crowd. "Breaker Upper," to be helmed by Kleid, is a romantic comedy featuring a professional relationship interloper. Fisher Stevens is in talks to helm "Driving," a musical romance set in contemporary Gotham.
R&B FM, launched in 2001, is producing "Death of a Dynasty," lensing in Gotham. The pic stars Damon Dash, who is also helming and producing. Rapper Jay-Z and Ebon Moss-Bachrach are among the pic's stars. Fragner and Ron Rotholz are onboard as executive producers. Cameos will include Sean "P. Diddy" Combs, Lorraine Bracco, Mariah Carey, Michael Rapaport, Denise Rich, Rashida Jones and Busta Rhymes.
Shingle also recently produced "The Hebrew Hammer" with Ed Pressman's ContentFilm. The pic is written and directed by Jonathan Kesselman, with Adam Goldberg starring.
Earlier in the year, the company produced pay-per-view special "Aaron Carter Valentine's Day Party."
Rudolf & Beer specializes in music and film as well as television, licensing and talent representation. Among the firm's clients are Britney Spears, Nick and Aaron Carter, Michael Bolton, 98 Degrees, O-Town, Michael Bolton, Samantha Mumba, No Secrets, Blackground Records. Film accounts include Myriad Pictures, Bigel/Mailer Prods., Barbara Kopple and Lot 47 Films.
© 2002 Reed Business Information © 2002 Variety, Inc. Use of this Website is subject to Terms of Use. Privacy Policy
Posted: Sun., Jul. 28, 2002, 10:00pm PT

The Breaker Upper
Production Credits
Director - Adam Kleid
Screenplay - Adam Kleid
Screenplay - Christine Scowley

In July of 1999, Lisa Fragner was upped to Head of East Coast Production/Development for Fox Searchlight Pictures and relocated to New York City where she ran Fox Searchlight East Coast until ankling in January of 2001. In the spring of 2001, Fragner partnered with Steven Beer of Rudolph & Beer, LLP where she is currently heading up their producing/packaging division, R&B FM. R&B FM (Rudolph & Beer Film and Music) is currently producing/packaging music convergent feature films and television projects as well as producing projects for the firm's music celebrity client-base, including Britney Spears, Ashanti, Aaron Carter, Samantha Mumba, and No Secrets. The firm also represents and has strategic associations with many urban and hip-hop artists. In addition to "The Hebrew Hammer," R&B FM's producing credits include "Aaron Carter Pay Per View Special Live" on In Demand, and the feature film "Death of a Dynasty" by writer Blue Moreno and directed by rap impresario Damon Dash, a co-production with Roc-A-Fella Films, on which Fragner is credited as producer. Prep will begin in the late winter of 2003 on two additional fully financed feature projects, "True to the Game" by writer/director Chris Slater, and "The Breaker Upper," by writer/director Adam Kleid and writer Christine Scowley.

Welcome to Dome 2, A Home For Writers.
Film rights to Jennifer Crusie's CRAZY FOR YOU, in which
a high school art teacher's dog is dog-napped, and
amidst the resultant breaking and entering, seduction,
sabotage, stalking, and secrets, two men are suddenly
crazy for her, to screenwriters Christine Scowley and
Adam Kleid, in a significant deal, by Justin Manask at
Intellectual Property Group on behalf of Meg Ruley at the
Jane Rotrosen Agency.

by Merle Bertrand
02/07/2000 2000, Un-rated, 21 Minutes
Matt loves his longtime best friend and soulmate Jill. Jill, however, in spite of her lovesick friend's insistent and desperate measures, insists that she's marrying David...even though she loves Matt. It's a frustrating outcome that doesn't make a damned bit of sense, but then again, neither does love which is why this charming film by Adam Kleid works so well. "Matt In Love" is by all accounts, a pretty basic romantic comedy with nice pacing and solid performances by its young cast. The film's biggest flash of inspiration takes the form of a recurring series of simple but comical bits: When Matt's alone, nothing works. But when Jill's in the room, balky ceiling fans suddenly rotate and burnt out light bulbs blink back to life, among other similar examples. These perfect demonstrations of the old "Show it, don't tell it" rule indicate that Matt and Jill are perfect for each other...which makes this bittersweet film's stubborn conclusion as effective as it is poignant.

Audience reviews:
"Outstanding! Very moving and thought provoking."
"One of the sweetest films I have ever seen."
"This movie is just charming."

Adam Kleld. a graduate of
New York University's film school, says it
took him 10 days to shoot
"Matt in Love" as
his graduate thesis. The film outlines a
young man's efforts to win back an old
sweetheart who is getting married to someone
else. "It's kind of a romantic comedy in
the Woody Allen vein ..
Mr. Salmi bought the rights to the short
last April when he spotted it at an NYU film
festival. After it was screened at Sundance
this year, Mr. Kleid got a flurry of calls
from interested Internet companies, including
one that wanted to pick up the film
sight unseen.
"It's exciting, but I don't have any expectations,"
Mr. Kleid says. "If a lot of
people get to see my film, that's great. "

Adam Kleid - Director
(Hosted by)
Adam Kleid, a graduate of New York
University's film school, wanted something
wouldn' t look like it was competing with
, given the difficulties of getting
people to "watch" the
Internet. Kleid ' s
project, called ''The Monologues," is
the result
of his hard work. The film is actually five one minute
routines that riff on
pop culture.

Eyematic, Energy Entertainment and Adam Kleid Announce Online
First-Look Pact

Leading Developer of 3D & 2D Animation Software for Real Time TV and Internet Content
Production & Consumer Communication Toolsets Teams with Burgeoning Internet Management Co.
LOS ANGELES, Aug. 4IPRNewswirel -- Internet and transmedia technology and content developer Eyematic has entered into a first look development arrangement with the Bel-Air based Independent management / production company Energy Entertainment. Eyematic, recent winner of the Golden Lasso Award for best online 3D animation tools and technology at July's SIGGRAPH 2000/ Web3D RoundUP in New Orleans, will initially enter into a development deal with Energy client Adam Kleid, who recently signed a content deal with Atom Films. According to Eyematic's Jan Dreier, Exec VP of Entertainment, "In structuring our entertainment division, we set goals to concentrate on talent who can articulate a sustaining vision for online episodic series, so when we approached Adam we knew there was synergy.
Energy founder Brooklyn Weaver explains, "Based an Adam's deal with Atom Films, Energy has been approached by several dot coms and telecoms looking for content.

Expert Advice on Going Digital from up and coming filmmaker, Adam Kleid
The Art of Digital Filmmaking
Adam Kleid: Director and Producer

und is a big issue with digital cameras. Always use an external mic (not the camera mic.) and make sure it is a directional mic, meaning, that what ever direction you point it in - that is what it records . The camera mic will pick up noise from all over the place On some cameras, if you don't run you mic through a mixer, sometimes you will pick up wire hiss and your sound will be ruined. Remember, sound is half of your film - unless it’s a silent film. It’s important to try and research the quirks of your specific camera before shooting. Some of the digital cameras have lenses that breathe in mid-shot - they go soft and lose focus. Some have mics that create noise depending on what camera mode you're in.

The digital
cameras which have a lot of in- camera effects - watch out for these. It is always better to get a clean image (no effects) during production and then add effects in postproduction. Otherwise, you might be stuck with the in-camera effect.
The most important thing to remember is that the art of filmmaking whether digital or celluloid is just that, an art. You should still approach everything the same way. You still have to prepare, set up the shot, light the scene - just because you can shoot in low light conditions with a digital camera doesn't mean you should. Good lighting is still good lighting and it shows. It doesn't have to be expensive( use a china ball with a high watt bulb - great light source for video, put it on a pole and follow your actors with it. Throw a small light behind your actors in a corner creating contrast or rim light. Use practical lights in the frame of the shot - a desk lamp, floor lamp, etc .) Most of the same lighting principles for film apply to video, but be careful when using automatic mode - it will expose for the light and end up blowing out the image. Filmmaking is a craft, try and respect that. Don't rush just because you can. The apparent ease of use of the digital camera lends itself to a point and shoot mentality, try not to fall victim to this. Think through every shot and pay attention to detail. In the end you are still trying to convey a story in a clear, well thought out and original way. GOOD LUCK!