KILL YOUR DARLINGS
Ultimately, KILL YOUR DARLINGS isn't a film about the death of David Kammerer, or the birth of
the Beat movement, but a personal and generational coming of age that's simultaneously
highly specific and inherently universal. "For me," reveals Krokidas, "at the heart of this movie
is the inspiration of knowing that you can do something important with your life, but also the
drama and the conflict of what you have to go through in order to become yourself. The fancy
way of saying this is, it's about the emotional violence that comes with the birth of a self. For
me, the murder is just a literal interpretation of that violence, of that death that needs to
happen in order for one to be reborn."
Certainly, the epochal reverberations of the incident are well charted, as Michael C. Hall
observes: "It sent Kerouac across the ocean, and Burroughs to Chicago and then south of the
border. Ginsberg, I guess, is the only one who stayed put but he certainly absorbed or
sublimated it and moved forward with a creative explosion. It's a seminal event; it's wild that
most people haven't heard that much about it."
"I think every generation discovers the Beats anew," muses Austin Bunn. "Funnily enough,
when I was in college, I would go to the campus bookstore and read Allen Ginsberg poetry, just
sitting there on the floor of the bookstore, transformed by the words I was reading. And now
I'm the guy who's telling them, "Hey, go find these transmissions, they're out there for you.'"
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