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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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~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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