By Ray Pride Pride@moviecitynews.com

KCRW to Curate Evening Music Programming at 2013 Sundance Film Festival

For Immediate Release

December 12, 2012

KCRW to Program Three Nights of Live Musical Performances for Festival’s Music Café and Broadcast Live from Park City, Utah

All Performances to be Free and Open to the Public (21 and Older)

Los Angeles, CA & Park City, UT — Sundance Institute and KCRW today announced that the LA public radio station will host three nights (January 18-20) of live musical performances at the 2013 Sundance Film Festival Music Café and broadcast live from the Acura studio space in Park City, Utah January 19-20. This will mark the first-ever formal programming collaboration between the independent film festival and a radio station.

KCRW’s programming for the Festival will feature emerging composers, singer-songwriters and beat-makers and will focus on celebrating the role of music in movies. KCRW DJs and music supervisors Jason Bentley and Anne Litt will co-host live radio broadcasts from 2:00 p.m. to 5:00 p.m. PT on Saturday, January 19 and Sunday, January 20 at the Acura studio space inside the Park City Museum with luminaries in both the film and music world. Highlights from the weekend will air on Morning Becomes Eclectic the following week, while the Festival is still underway.

Bentley said, “KCRW celebrates the intersection of music and film throughout the year, and having a presence at Sundance Film Festival brings this commitment into sharp relief. We’re working on an exciting evening music program for the Music Café as well as our daytime broadcasts so folks back home will feel the excitement of the independent film world’s most creative forum.”

John Cooper, Director of the Sundance Film Festival, said, “Both the Sundance Film Festival and KCRW are recognized for discovering and sharing the work of emerging artists, which makes this collaboration both exciting and fitting. In addition, the Sundance Film Festival has long featured music programming to reflect the profound collaboration and inspiration filmmakers find with music artists, and engaging with KCRW further elevates that connection.”

KCRW’s programming complements additional musical components of the Festival, including daytime performances programmed by ASCAP and A Celebration of Music in Film event programmed by the Sundance Institute Film Music program.

A full schedule of musical performances will be announced.

 

The Sundance Film Festival®

A program of the non-profit Sundance Institute®, the Festival has introduced global audiences to some of the most ground-breaking films of the past two decades, including sex, lies, and videotape, Maria Full of Grace, The Cove, Hedwig and the Angry Inch, An Inconvenient Truth, Precious, Trouble the Water, and Napoleon Dynamite, and through its New Frontier initiative, has showcased the cinematic works of media artists including Isaac Julien, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney. The 2013 Sundance Film Festival® sponsors include: Presenting Sponsors – HP, Acura, Sundance Channel and Chase Sapphire PreferredSM; Leadership Sponsors – DIRECTV, Entertainment Weekly, FOCUS FORWARD, a partnership between GE and CINELAN, Southwest Airlines, Sprint and YouTube; Sustaining Sponsors – Adobe, Canada Goose, Canon U.S.A., Inc., CÎROC Ultra Premium Vodka, FilterForGood®, a partnership between Brita® and Nalgene®, Hilton HHonors and Waldorf Astoria Hotels & Resorts, Intel Corporation, L’Oréal Paris, Recycled Paper Greetings, Stella Artois® and Time Warner Inc. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations will defray costs associated with the 10-day Festival and the nonprofit Sundance Institute’s year-round programs for independent film and theatre artists. www.sundance.org/festival

Sundance Institute

Founded by Robert Redford in 1981, Sundance Institute is a global, nonprofit cultural organization dedicated to nurturing artistic expression in film and theater, and to supporting intercultural dialogue between artists and audiences. The Institute promotes independent storytelling to unite, inform and inspire, regardless of geo-political, social, religious or cultural differences. Internationally recognized for its annual Sundance Film Festival and its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Beasts of the Southern Wild, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America. Join Sundance Institute on Facebook, Twitter and YouTube.

KCRW

KCRW 89.9FM is an NPR affiliate serving Southern California and licensed to Santa Monica College. The public radio station represents cutting edge radio at its best, presenting an eclectic mix of independent music, news, talk and arts programming. The terrestrial signal serves Los Angeles, Orange, and Ventura counties, as well as parts of San Diego, San Bernardino, Kern, and Santa Barbara counties and the greater Palm Springs area. KCRW’ s programming is internationally renowned and available worldwide at KCRW.com. KCRW offers an all-music channel, Eclectic24, an all news channel and on-air simulcast. . Podcasts and archives of our locally-produced programs and live band performances are available on our website, as well as on our smartphone apps for the iPhone, Android and Blackberry. KCRW’s acclaimed Music Mine app for iPad is dedicated to music discovery. www.kcrw.com

# # #

Leave a Reply

Quote Unquotesee all »

Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

Z Weekend Report