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By Ray Pride Pride@moviecitynews.com

SONY PICTURES CLASSICS ACQUIRES SUNDANCE FAVORITE BEFORE MIDNIGHT

FOR IMMEDIATE RELEASE                                         

NEW YORK (January 25, 2013) – Sony Pictures Classics announced today that they have acquired all North American and UK rights to Richard Linklater’s BEFORE MIDNIGHT, the third installment to BEFORE SUNRISE and BEFORE SUNSET, starring Ethan Hawke and Julie Delpy. Like BEFORE SUNSET, the third film is written by Academy Award nominees Linklater, Hawke and Delpy. Premiering to critical acclaim in the Premieres Section on Sunday evening at the Sundance Film Festival, BEFORE MIDNIGHT has been one of the most talked about films at the festival.

The film is produced by Linklater, Christos V. Konstantakopoulos and Sara Woodhatch and executive produced by Jacob Pechenik, Martin Shafer, Liz Glotzer, and John Sloss.  The deal was negotiated by SPC and Cinetic Media on behalf of the filmmakers.

In BEFORE MIDNIGHT, we meet Celine and Jesse 9 years on. Almost 2 decades have passed since that first meeting on a train bound for Vienna, and we now find them in their early 40’s in Greece. Before the clock strikes midnight, we will again become part of their story.

“In 1991 we were in Sundance with SLACKER and we witnessed the birth of a major American filmmaker. At Sundance 2013 with BEFORE MIDNIGHT, we have further confirmation that Richard Linklater is a film master at the peak of his form. This one has it all as entertainment and as a work of cinematic art. It is a perfect movie made by not one but three auteurs, Rick, Ethan Hawke, and Julie Delpy. This movie will be incredibly successful around the world. And the acquisition is all the sweeter for our being back with Rickand producers Martin Shafer, Liz Glotzer and John Sloss,” says Sony Pictures Classics.

Director Richard Linklater adds, “Shooting in Greece was one of my best film experiences ever.  This has just been enhanced with the news that we’ve found such a good home with Michael and Tom.”

ABOUT SONY PICTURES CLASSICS

Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.

Barker and Bernard have released prestigious films that have won 29 Academy Awards (25 of those at Sony Pictures Classics) and have garnered 135 Academy Award nominations (109 at Sony Pictures Classics) including Best Picture nominations for AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 142 countries. For additional information, go to http://www.sonypictures.com/.

 

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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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