WORLD SCREEN
Wheelhouse Group has taken a majority stake in Campfire, the production company behind the Netflix true-crime documentary series adaptation of John Grisham’s The Innocent Man.
Campfire was established by Ross Dinerstein, who will continue to run the company and maintains creative control. Ross Girard, executive VP of production, and Rebecca Evans, VP of non-fiction content, will also remain part of the team. The company’s slate includes the recently announced Heaven’s Gate docuseries for HBO Max and CNN as well as scripted projects such as Rattlesnake and 1922. Upcoming projects include The Most Dangerous Animal of All and Women in Comedy for FX and ten additional titles for the likes of Netflix, HBO Max and CNN.
Wheelhouse Group CEO Brent Montgomery noted, “As we realize our core mission of joining content, top talent and brands, and supporting them with investment, Wheelhouse Group is assembling an unbeatable team of creatives and entrepreneurs. It’s hard to know which of Ross’s compelling projects to rave about first—as one of the industry’s most in-demand producers, he’s virtually done it all, working with bestselling authors, top screenwriters and directors, and breakout talent. While he’s adept in every category of content, his motivation is simply to tell great stories. We’re thrilled to partner with Ross and to help expand Campfire under his producing talent and leadership.”
Dinerstein added, “I am very proud of Campfire’s diverse slate of projects across all mediums and platforms, and now with Wheelhouse Group as our partner, we will be able to accelerate our growth while continuing to focus on telling the stories that are just a bit left of center but still reflect and exalt the human condition, whether doc or scripted. After meeting Brent and his team, it was actually an easy decision to make Campfire part of the world of Wheelhouse Group. We’re in total sync about the appeal and power of collaboration and I’m eager to join forces to bring even more complex and diverse storytelling to a global audience.”
