By Ray Pride Pride@moviecitynews.com

SONY PICTURES CLASSICS ACQUIRES SUNDANCE HIT KILL YOUR DARLINGS

Posted Wednesday, January 23rd, 2013 - Comments Off on SONY PICTURES CLASSICS ACQUIRES SUNDANCE HIT KILL YOUR DARLINGS
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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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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