By MCN Editor editor@moviecitynews.com

40 Acres and a Mule Filmworks announces theatrical release plans for Spike Lee’s RED HOOK SUMMER; Will partner with Variance Films for August 10 theatrical release

FOR IMMEDIATE RELEASE

Republic of Brooklyn, April 25, 2012 – 40 Acres and a Mule Filmworks announced today that the company will undertake its first independent distribution effort with founder Spike Lee’s Brooklyn coming-of-age story, RED HOOK SUMMER. 40 Acres and a Mule Filmworks will partner with New York-based Variance Films for the theatrical release, which will begin August 10, 2012 in New York City theaters, expanding to the top 30 markets throughout the month of August.

“From my very first joint back in 1986, SHE’S GOTTA HAVE IT, I have been an independent filmmaker, and even today I still am,” said Spike Lee.  “I’m elated to join forces with Variance Films for the independent distribution of my new joint RED HOOK SUMMER.  We look forward to getting this film into the marketplace, where we believe 100 percent that there is a starving audience for American independent films like RED HOOK SUMMER.”

“Variance’s sole mission is to ensure filmmakers retain their rights and their power,” said Dylan Marchetti, founder of Variance Films, “and I can’t think of a filmmaker that would make better use of both than Spike Lee.  Spike is truly one of the godfathers of independent filmmaking, and RED HOOK SUMMER is an entertaining, yet thoughtful, film that says something we think needs to be said.  We couldn’t be more excited to work with Spike and his team to ensure that audiences across the country will be experiencing this fantastic film with their friends and family.”

The latest in Spike Lee’s Chronicles of Brooklyn (which also include SHE’S GOTTA HAVE IT, DO THE RIGHT THING, CROOKLYN, CLOCKERS, and HE GOT GAME), RED HOOK SUMMER tells the story of Flik Royale, a sullen young boy from middle-class Atlanta who has come to spend the summer with his deeply religious grandfather, Bishop Enoch Rouse, in the housing projects of Red Hook.  Having never met before, things quickly get off on the wrong foot as Bishop Enoch relentlessly attempts to convert Flik into a follower of Jesus Christ.  Between his grandfather’s constant preaching and the culture shock of inner-city life, Flik’s summer appears to be a total disaster–until he meets Chazz Morningstar, a pretty girl his age, who shows Flik the brighter side of Brooklyn.  Through her love and the love of his grandfather, Flik begins to realize that the world is a lot bigger, and perhaps a lot better, than he’d ever imagined.

The deal was brokered by Dylan Marchetti of Variance Films with CAA and Robert Strent of Grubman, Indrusky & Hireon on behalf of 40 Acres and a Mule Filmworks.

OFFICIAL WEBSITE: www.redhooksummer.com

ABOUT 40 ACRES AND A MULE FILMWORKS

40 Acres And A Mule Filmworks is the production company of Spike Lee. Founded in 1986 in his childhood neighborhood of Fort Greene, Brooklyn, New York, it has produced feature films, documentaries, commercials, music videos and short films. 40 Acres has been a training ground for young unknown black talent, both in front of and behind the camera, who have gone on to make their mark in Hollywood today.

ABOUT VARIANCE FILMS

Founded in 2008 in Brooklyn, Variance Films is a New York City-based theatrical distributor whose sole mission is to bring the best in independent cinema to theaters across the continent, while allowing filmmakers to retain all rights to their work.  Founded in 2008 by Dylan Marchetti, Variance distributes films using innovative release strategies that focus on collaborative, filmmaker-centric grassroots marketing to drive audiences to theaters.  Recent Variance Films releases include John Sayles’ Philippine-American War epic AMIGO, José Padilha’s ELITE SQUAD: THE ENEMY WITHIN (Brazil’s official submission for the 2011 Academy Awards™), Damien Chazelle’s jazz musical GUY AND MADELINE ON A PARK BENCH, and the highest-grossing film of all time in China, Jiang Wen’s hilariously dark action-comedy LET THE BULLETS FLY.  For more information, please visit www.variancefilms.com.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé