By Ray Pride Pride@moviecitynews.com

Magnolia takes North American rights to David Gordon Green’s PRINCE AVALANCHE

FOR IMMEDIATE RELEASE
Wednesday, January 23, 2013

Park City, UT – January 23, 2013 – The Wagner/Cuban Company’s Magnolia Pictures announced today that they have acquired North American rights to PRINCE AVALANCHE after its rapturously received Sunday premiere at the Sundance Film Festival. The new film from writer/director David Gordon Green, PRINCE AVALANCHE stars Paul Rudd and Emile Hirsch, and was produced by Lisa Muskat, Derrick Tseng, Craig Zobel (director of Magnolia’s 2012 release Compliance), James Belfer and David Gordon Green.

Driven by striking performances from Rudd and Hirsch, PRINCE AVALANCHE is an offbeat comedy about two men painting traffic lines on a desolate country highway that’s been ravaged by wildfire. Against this dramatic setting, beautifully shot by frequent Green collaborator Tim Orr, the men bicker and joke with each other, eventually developing an unlikely friendship. Funny, meditative and at times surreal, PRINCE AVALANCHE features a moving score by Explosions in the Sky and David Wingo, and was loosely adapted from an Icelandic film called Either Way

“All of us at Magnolia are huge fans of David Gordon Green, and it’s been a dream for a long time to work with him,” said Magnolia President Eamonn Bowles. PRINCE AVALANCHE is incredibly smart, funny, warm and engaging film, with indelible, iconic performances from both Paul Rudd and Emile Hirsch.”

“Prince Avalanche was a strange joy to make and the reaction by audiences has been beautiful,” said David Gordon Green. “The pleasure continues as we join with Magnolia to distribute the movie. I couldn’t be more proud.”

The deal was negotiated by Magnolia SVP of Acquisitions Dori Begley with John Sloss and Cinetic. Magnolia is eyeing a summer theatrical release for the film.

PRINCE AVALANCHE was financed by Lankn Partners, Dogfish Pictures and Dreambridge Films.

About Magnolia Pictures

Magnolia Pictures (www.magpictures.com) is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies, a vertically-integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also includes the Landmark Theatres chain and AXS TV. Recent releases include Lars Von Trier’s Melancholia, Kevin Macdonald’s biopic Marley, David Gelb’s Jiro Dreams of Sushi, Craig Zobel’s Compliance, Lauren Greenfield’s The Queen of Versailles, the exciting noir-thriller Deadfall, and Golden Globe nominee A Royal Affair. Magnolia’s upcoming releases include Terrence Malick’s To The Wonder, the thrilling killer whale doc Blackfish, Thomas Vinterberg’s The Hunt, the moving documentaries A Place at the Table and No Place on Earth, The Brass Teapot, Big Star: Nothing Can Hurt Me, Évocateur: The Morton Downey Jr. Movie, and many more.

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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