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.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon