msophia pr portfolio

8/14/2019 MSophia PR Portfolio

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Press Clippings

Contact:

Margarita Sophia Cortes(917) [email protected]

Background

MSophia PR has almost ten years of experience within the entertainment industry includingworking with projects involving music, films, books, television, events, benefits, galas,

product launch events, red-carpet events and more from the east coast to the west. Having previously worked with Directors, production companies, independent studios, music labels,

independent artists, authors, business owners, non-profit organizations, celebrities,entrepreneurs or network executives, MSophia PR has led extensive and effective media

campaigns garnering maximum exposure for each and every project. Lavishing results have been delivered successfully within national and local newspapers, consumer magazines,

broadcast media, syndicated radio programs and online placements.

MSophia PR has established hundreds of media relationships within print, TV, radio andonline channels including: The Associated Press, NY Times, LA Times, Washington Post,

Entertainment Weekly, NY Magazine, Time Out NY, Giant Magazine, Nylon Magazine,Rolling Stone, Blender Magazine, Spin Magazine, OK Magazine, People Magazine, In Style

Magazine, Vogue, Vanity Fair, Time Magazine, Newsweek, ABC Radio, Westwood OneRadio, NPR, Fox Networks, Good Day NY, Good Day LA, Entertainment Tonight’s The

Insider, Extra TV, E! Entertainment, Good Morning America, The Today Show, The EarlyShow, The View, Live! With Regis and Kelly, Late Night w/Conan, Tonight Show,

Gawker.com, TMZ.com, Flavorpill.com, PaperMag.com, etc.

The following is only a small portion of the company’s latest portfolio….



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This week, fans of comedic legend RobertKlein are getting an especially potent dose of hilarity as HBO releases a box set containingall eight of the hour-long specials he’s done for them over the years. Klein chatted about whathe’s been up to and the state of moderncomedy, and threw in more than a few wordsthat would make Lenny Bruce proud.

So you grew up in the Bronx, right?Of course. I was brought up at 3525 Decatur Avenue, in the north Bronx right next toWoodlawn Cemetery. I wrote an early memoir,on ages 9 to 25, called The Amorous Busboyof Decatur Avenue. They began a Bronx walk

of fame ten years ago, and I was inducted inthe first group, along with Regis Philbin. Theyhad a little parade on the Grand Concourse,three blocks long, and there were Dominicansin folding chairs, completely enthusiastic,drinking orangeade. It used to be a veryJewish neighborhood.

And what have you been up to lately?Well, Ira & Abby opened last week to prettygood reviews. It is a quintessential New Yorkmovie. Fred Willard is in it, Jason Alexander,Frances Conroy — Judith Light plays my wife.

I play Ira’s father. I always play fathers now. Iused to play leading men! [Laughs.]

Tell us about your HBO box set.I did the first HBO special ever in 1975 at Haverford College. Cable was new then: HBO was a Time-Life entity, with maybe 400,000 or 500,000 subscribers and maybe 50 employees. And then they gotthe idea to tape me and instead of giving me the eight minutes I got on the Johnny Carson show, theyshowed me in my natural habitat, which was doing stand-up in college theaters. I could say what Iwant. If you could imagine all the years on the Tonight Show, which I did 82 times with Johnny Carson— arguing over words: poo-poo and boo-boo and body parts, forget it! Now it’s fuck, shit, prick, cunt,every second word!

Have you seen any good comedies lately?

I have no interest in any of the movies around. I saw Molière, I thought it was absolutely terrific. I sawThe Seven Samurai the other day, all three and a half hours, though it was made in 1950. Ira & Abbyis fantastic. I loved The Queen, saw it twice. There hasn’t been a lot of funny stuff lately.

Do you ever find that when you make an entire life out of being funny, you stop finding humor ineveryday life?Oh, no, the two are not mutually exclusive. Laughter is at an incredibly important premium at goodtimes and bad times. There is a cliché that probably has some anecdotal evidence on the side thatcomedians are very depressed people, but that’s because no one is ever going to seem as funny in anormal conversation as compared to when they’re up there onstage in the spotlight making a hugeaudience keel over with laughter. Jerry Seinfeld is completely balanced. He strikes me as a totallypacific guy. (….more….)



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Somaly Mam Foundation 2008 Benefit



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Posted on March 27, 2009

What seem like eons before Seth Rogen foundhimself and his head of curly hair on the cover of Playboy, Elliott Gould was gracing the cover of Time and being touted as a new kind of sexsymbol. Over his prolific career (“I really love to

work,” says Gould), he’s gyrated hips with ElvisPresley and rubbed noses with Barbra Streisand.He was Robert Altman’s go-to guy and Ingmar Bergman’s pupil. And yes, he was also Ross andRachel’s dad on Friends. If you can’t rattle off atleast three of the best movies of the Twentieth-Century that he stars in, then you’re probably tooyoung to even watch an R-rated flick. Lucky for you, the 68-year old actor is back with the April 7DVD release (Virgil Films & Entertainment) of The Caller, a quiet, introspective indie film builton big ideas—guilt, memory and responsibility.He plays a lonesome, bird-watching private

investigator hired to spy on a soon-to-beassassinated corporate executive (FrankLangella). I sat with Gould in his Los Angeles

home (full disclosure: Gould is my dad’s cousin) and chatted with him over tea and assorted ruggelah.

You’ve starred in iconic films—MASH, The Long Goodbye, Bob & Carol & Ted & Alice, for which youwere nominated for an Oscar – and were directed by world-renowned auteurs. What was it like to workwith a relatively newbie director such as Richard Ledes on The Caller?

I’ve worked with first time directors before. The first one was Paul Mazursky on Bob & Carol & Ted &Alice. And I worked with my beloved son Jason on two short films that he directed. And the first thingthat Ingmar Bergman directed on film was a milk commercial for the theatres. Everyone has to startsomeplace. In The Caller, it wasn’t up to me to do anything but play my part. There was not very much

of any improvising; when I worked with Robert Altman, he would just let me play.

You seem to gravitate toward mustached characters that prefer to observe rather than be observed,such as the PI in this film. How did the project come to you?

I’m told that it was a French story, called The Telephone, and that it had been commissioned to bemade into a screenplay and was transposed into an English project by Richard Ledes. And when Ireceived the letter asking me to consider it, it was called The Telephone, then it was called On TheHook. I thought And You’re John Doe would be a fascinating title for this piece in relation to notknowing who we are, and that John Doe, in my mind, would be the audience, would be the observer.

In past roles, you’ve displayed a terrific knack for ironic comedy. Despite, the film’s serious tone, youstill managed to bring that to The Caller….(more…)



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Village Voice | Sound of The CityInterview: Actor Elliott Gould on His New Film The Caller

Posted by Eudie Pak at 1:30 PM, February 12, 2009

In Richard Ledes’ new suspenseful thriller, TheCaller, legendary actors Frank Langella and ElliottGould team up to tell the story of two men whoselives turn in strikingly different directions but whosecommon past brings them back together. Reachedon the phone in California, Gould took some time outwith us to discuss the film, which opens Friday.

Some of your more recent projects have beensatirical and/or comedic, but in The Caller you strayaway from that, playing a private detective with atragic past. What compelled you to play thischaracter?

Mind you, I see almost everything as being funny. Richard Ledes had asked to meet with me andoffered me the picture, and I do serious work but I don’t consider the work itself to be serious. I sawthat the film was interesting; it was originally a French piece called The Telephone and when westarted to work on it, it was being called On the Hook. I wanted it to be called And You’re John Doe.

What other elements of the film attracted you to it?

Richard Ledes told me that he was expecting Terence Stamp to be playing the guy. Then he was notavailable and they had two suggestions for me: Christopher Walken, whom I’ve known for a very longtime, and the other was Frank Langella. And to be able to do it on the streets of New York was veryinteresting and enticing to me.

What was it like working with Frank Langella?

Oh it was great. He was doing the play Frost/Nixon at the time so I got to go and see him at the timewe were working on The Caller. We do very little together in the picture. We had a few scenestogether, and it was very good to work with him. He was totally prepared, completely professional, andvery good at what he does.

Unbeknownst to your character, Frank Turlotte, Jimmy (Langella) disguises his identity from you andhires you to spy on him. Why didn’t he just reveal who he was to you?

He’s someone who’s probably ashamed of himself, someone who has enormous guilt, someone whowent in a totally different direction than me. Also as far as trust, what he knew about me was when wewere children–and the character that I play as a child was not afraid of death. He plays a character who knows that he must die. And what he wants is to be delivered at his death, hopefully withsomeone who would accept him not as what he’s become but what he was. It’s a little contrived, but itwas an opportunity for us to do some work. I do find that….(more…)



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COVER OF TIME OUT New York magazine

August 21-27, 2008

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