Adrienne Becker, founder and CEO of Glass Elevator, will serve as CEO of Killer Content. Vachon and Koffler (pictured above) will be co-presidents. As part of the deal, production outfit Union Editorial is making an unspecified investment in Killer Content.
The idea to merge Killer and Glass Elevator came together over the past year as the two companies worked together on developing a feature adaptation of the Helen Schulman novel “This Beautiful Life.” The plan is to marry Killer’s expertise in filmmaking and relationships with creative talent with Glass Elevator’s focus on developing content designed for a wide range of platforms.
Glass Elevator, which opened its doors two years ago, has focused on partnering with writers and other creatives to incubate ideas with a multiplatform strategy from the get-go. Koffler said the process of Killer and Glass Elevator coming together was “natural, organic and unpremeditated.”
“As we got to know Adrienne and what attracted her to projects, we really felt there was a complementary synergy between what she’s trying to do with Glass Elevator and where we wanted to go with Killer,” Koffler said.
Becker is an alum of Barry Diller’s USA Networks and IAC Corp. who spent a few years as a scout for media investments for CAA and other venture capitalists before launching Glass Elevator. She became convinced that Hollywood’s traditional development processes need a radical overhaul in order to create entertainment properties for the multiplatform age.
Among the creatives working with Glass Elevator on various projects are YouTube star Katie Goodman, the producers behind digital comedy series “Park Slope Parents” and “Bench Warmers,” screenwriter Elizabeth Rodgers and filmmaker Rhonda Mitrani.
“The IP incubator model we have embraced is only building steam” in the industry, Becker said. “Creators are also changing the way they think about their stories. They’re looking to people like Pam and Christine — producers with proven track records as innovators — to help them figure out the sequencing of things — what parts of the story play best in what medium and with different business models.”
Vachon added: “One of the things we’ve been saying for a while when we go and talk about filmmaking is that we have to start calling ourselves ‘content makers’ now.”
Union Editorial, which specializes in post-production and commercial production operations in New York and L.A., came into the picture after meeting with Vachon and Koffler as the company is in the midst of expanding into feature production. Union Editoral president Michael Raimondi (pictured below with Becker) will join Killer Content’s advisory board, which also includes Lauren Zalaznick, John Sloss of Sloss Eckhouse LawCo, music producer and CEO of the Lalabella Alliance Gordon Williams and Samuel Ing, chairman of Inggroups.
With the investment from Union, Killer Content plans to expand with key hires. Union’s head of entertainment development, Noah Haeussner, will work closely with the Killer Content team.
The Killer Films banner will remain active for theatrical releases. Killer has produced more than 70 features during the past 20 years, ranging from “Kids” and “Boys Don’t Cry” to most recently, “Kill Your Darlings.”
Ownership of the company’s film library is all over the map among various distributors. But the plan is to eventually reclaim some of those rights and re-deploy the IP anew.
Vachon could not elaborate on specific titles but said that they are looking forward to having options in the future.
“One of the benefits of being in business so long is that those licenses you signed that you thought were for an eternity — well, the eternity’s almost up,” Vachon said.