By Ray Pride Pride@moviecitynews.com

SONY PICTURES CLASSICS ACQUIRES SUNDANCE HIT KILL YOUR DARLINGS

FOR IMMEDIATE RELEASE                                        

NEW YORK (January 22, 2013) - Sony Pictures Classics announced today that they have acquired all US, Australian, New Zealand, South African, African TV, and Eastern European (minus CIS which has already been sold) rights to John Krokidas’ directorial feature debut, KILL YOUR DARLINGS. Co-written by Krokidas and Austin Bunn, KILL YOUR DARLINGS stars Daniel Radcliffe, Dane DeHaan, Michael C. Hall, Ben Foster, Jack Huston, Elizabeth Olsen, David Cross, and Jennifer Jason Leigh. The film is a US Dramatic competition feature at the 2013 Sundance Film Festival and premiered to a standing ovation on Friday.

KILL YOUR DARLINGS is produced by Krokidas, Benaroya Pictures’ Michael Benaroya, Christine Vachon of Killer Films and Rose Ganguzza and is executive produced by Benaroya Pictures’ Head of Production Joe Jenckes, Stefan Sonnenfeld, Jared Ian Goldman, Killer Films’ Pamela Koffler, and Randy Manis.

The film is the previously untold story of a murder that brought together a young Allen Ginsberg (Radcliffe), Jack Kerouac (Huston) and William Burroughs (Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution.

“To be considered amongst the ranks of Pedro Almodóvar and Woody Allen is beyond my wildest dreams,” said Krokidas. “Sony Pictures Classics is truly the perfect place for this film. This is a dream come true.”

Sony Pictures Classics adds, “This is an amazing movie, a great American drama, thriller, and perfect evocation of New York in the 1940′s as you have never seen on screen before. With an ensemble cast that is truly mind-blowing led by Daniel Radcliffe in a profoundly moving performance as Allen Ginsberg, we are witnessing the birth of a major new American filmmaker. Producers Michael Benaroya and Christine Vachon have truly outdone themselves here. It is a privilege to bring a film that works on so many levels to American audiences.”

KILL YOUR DARLINGS was negotiated by SPC and UTA’s Rena Ronson along with Cassian Elwes.

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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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