By Ray Pride Pride@moviecitynews.com

Kurt Cobain Doc Returns To Theaters

Posted Thursday, July 9th, 2015 - Comments Off on Kurt Cobain Doc Returns To Theaters
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ABRAMORAMA TO RE-LAUNCH
KURT COBAIN: MONTAGE OF HECK
FOR EXTENDED THEATRICAL RUN THIS AUGUST

 

Directed by Acclaimed Filmmaker Brett Morgen
Executive Produced by Frances Bean Cobain
July 9, 2015 New York – ABRAMORAMA is set to re-launch Brett Morgen’s critically acclaimed documentary, KURT COBAIN: MONTAGE OF HECK in select theaters across the country Friday, August 7th, it was announced today.

 

KURT COBAIN: MONTAGE OF HECK, co-produced by HBO Documentary Films and Universal Pictures International Entertainment Content Group, is an authentic and unflinching look into Kurt’s life, art and mind through his own unique lens.  Following Kurt from his earliest years in Aberdeen, WA, through the height of his fame, the film creates an immersive cinematic insight into an artist who craved the spotlight even as he rejected the trappings of fame.

Brett Morgen, the filmmaker behind such acclaimed documentaries as “The Kid Stays in the Picture” “Crossfire Hurricane” and “June 17th, 1994” is writer, director and producer of KURT COBAIN: MONTAGE OF HECK. Visual artist Frances Bean Cobain, Cobain’s daughter is executive producer.

“We love rock and roll movies at Abramorama,” said Abramorama President / CEO Richard Abramowitz. “Neil Young, The National, Anvil — our list goes on. KURT COBAIN: MONTAGE OF HECK is right at the top. We are privileged to put the film in theaters, where it belongs, so the faithful can relive the concert experience.”

Described by Rolling Stone as “The most intimate rock doc ever”, KURT COBAIN: MONTAGE OF HECK”s initial run on three screens grossed $140,208 in its first weekend for a 3-day per screen average of $46,736, making it the highest psa of any documentary release this year.
“Montage of Heck was designed to be experienced in Cinemas” said Director, Brett Morgen. “We are thrilled that U.S audiences will now have an opportunity to experience the film as it was meant to be felt”.
For the re-launch, KURT COBAIN: MONTAGE OF HECK will be at the IFC Center in NY and the ArcLight Hollywood, where it all began. ArcLight Cinemas is supporting the re-release in all of their venues, the film will also show in additional independent theaters across the country.
KURT COBAIN: MONTAGE OF HECK had its world premiere at the 2015 Sundance Film Festival followed by an international premiere at Berlinale. The doc had a limited theatrical run in New York and Los Angeles in late April as well as international theatrical run via Universal Pictures. The film debuted exclusively on HBO May 4th.

ABOUT ABRAMORAMA

An independent theatrical distribution and marketing company, Abramorama is an industry leader in the focused, personalized form of film distribution that provides invaluable alternatives to filmmakers and content owners. Over the course of more than 20 years, Abramorama has successfully distributed and marketed hundreds of films, including Asif Kapadia’s SENNA, Robert Stone’s PANDORA’S PROMISE; Cameron Crowe’s PEARL JAM TWENTY; Sacha Gervasi’s ANVIL! THE STORY OF ANVIL, and Banksy’s Oscar-nominated, EXIT THROUGH THE GIFT SHOP. Abramorama recently released 2014’s surprise indie hit AWAKE: THE LIFE OF YOGANANDA, the critically acclaimed documentary PARTICLE FEVER, New York Times critics’ pick AN HONEST LIAR, and Tribeca FF Opening Night’s LIVE FROM NEW YORK!. Abramorama’s current event cinema release schedule includes, Royal Opera House Ballet and Opera Cinema Season, Shakespeare’s Globe on Screen, Matisse at the Tate, Hermitage Revealed, Planetary (launched theatrically on Earth Day, 2015), and the visceral action sport feature The Search For Freedom.

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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