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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“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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