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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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

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~ David Lynch