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

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé