By MCN Editor editor@moviecitynews.com

RECREATION AND INCENTIVE CAPITAL ACQUIRE INTERNATIONAL RIGHTS TO SPIKE LEE’S ‘RED HOOK SUMMER’

Los Angeles, CA (May 7, 2012) – Los Angeles-based sales company, Recreation and Salt Lake City-based media fund, Incentive Capital, have jointly acquired international rights to two-time Oscar nominee Spike Lee’s highly anticipated RED HOOK SUMMER, it was announced today by Recreation founder and president, Ariel Veneziano and Incentive’s Joe Pia.

The provocative feature film is directed by Lee who is featured in the film, reprising his role as “Mookie” from his classic hit DO THE RIGHT THING, and also co-wrote the script with James McBride (MIRACLE AT ST. ANNA).

Co-starring teen newcomers Jules Brown and Tony Lysaith, both Brooklyn locals, with Clarke Peters (HBO’s “The Wire”) and Nate Parker (RED TAILS), the buzzed-about film is produced by Lee’s production company, 40 Acres and A Mule Filmworks and McBride.

“This is a powerful and relevant film from one of the most influential filmmakers of our time and reminds us of some of Spike’s iconic movies we all know and love.  We are proud to be looking after this great movie which fits right into our joint acquisitions strategy,” commented Veneziano and Pia.

RED HOOK SUMMER is the latest installment in Lee’s ongoing Chronicles of Brooklyn which includes his debut film SHE’S GOTTA HAVE IT, DO THE RIGHT THING, CROOKLYN, CLOCKERS and HE GOT GAME. It tells the story of a teenage boy (Brown) who is sent to New York to spend the summer with his grandfather (Peters), whom he’s never met before.

The deal was negotiated by Veneziano of Recreation and Pia of Incentive Capital with CAA and Artie Indursky and Robert Strent of Grubman Indursky Shire & Meiselas, PC on behalf of Lee and 40 Acres and A Mule Filmworks.

The film will be screened privately for selected international distributors at the upcoming Cannes Film Market.

The joint acquisition is the result of the continuing partnership between Recreation and Incentive Capital as they step up to acquire and distribute top quality filmed entertainment worldwide.  This deal comes hot on the heels of their pact to collaborate on the international distribution of Incentive’s extensive library of over 850 titles featuring a wide range of films, documentaries and television series announced last month.

40 Acres and A Mule Filmworks is partnering with US distribution company Variance Films to theatrically release the film in the US beginning on August 10, 2012 in New York, with a national roll out to follow. RED HOOK SUMMER world premiered at the Sundance Film Festival earlier this year, where it was the subject of lively debate amongst audience and critics.

Lee is one of the industry’s most prominent and visionary filmmakers who is most well-known for directing such American classics as MALCOLM X starring Denzel Washington in an Oscar-nominated role, 25th HOUR starring Edward Norton, Philip Seymour Hoffman and Barry Pepper and JUNGLE FEVER starring Lee, Wesley Snipes and Annabella Sciorra. He has been nominated for two Academy Awards, once for Best Original Screenplay for DO THE RIGHT THING (from his Chronicles of Brooklyn series which also includes SHE’S GOTTA HAVE IT, CROOKLYN, CLOCKERS and HE GOT GAME)followed by 4 LITTLE GIRLS for Best Documentary Feature.  His recent director credits include MIRACLE AT ST. ANNA starring Derek Luke, Michael Ealy and Laz Alonso released by Touchstone Pictures and Universal’s heist thriller hit INSIDE MAN starring Denzel Washington, Clive Owen and Jodie Foster which was named one of the 10 Best Films by the American Film Institute and for which he won the NAACP Image Award for Outstanding Directing in a Feature Film. He will next direct OLDBOY starring Josh Brolin, Elizabeth Olsen and Sharlto Copley, to be produced through his production company along with Mandate Pictures and Vertigo Entertainment.

Peters is currently starring on the Emmy-nominated HBO television series, “Treme,” opposite Khandi Alexander, Lucia Micarelli, Wendell Pierce and Melissa Leo which will return in the fall for its 3rd season. He is most well known for playing Detective Lester Freamon on HBO’s critically acclaimed hit show “The Wire” and has appeared on FX’s “Damages” and the HBO mini-series, “The Corner.” His film credits include John Krasinski’s BRIEF INTERVIEWS WITH HIDEOUS MEN, 20th Century Fox’s MARLEY & ME opposite Owen Wilson and Jennifer Aniston and Columbia Pictures’ FREEDOMLAND opposite Julianne Moore and Samuel L. Jackson.

Parker is an emerging young actor who most recently appeared in 20th Century Fox’s RED TAILS opposite Cuba Gooding Jr., Terrence Howard and Tristan Wilds. He was also seen in Fox Searchlight Pictures’ THE SECRET LIFE OF BEES opposite Queen Latifah, Dakota Fanning and Jennifer Hudson and The Weinstein Company’s THE GREAT DEBATERS opposite Denzel Washington and Forest Whitaker for which he was nominated for an NAACP Image Award for Outstanding Supporting Actor in a Motion Picture. He will next appear in Lionsgate/Roadside Attractions’ thriller ARBITRAGE opposite Richard Gere, Susan Sarandon and Tim Roth which will be released in the fall.

About Recreation

Recreation is an independent media sales company and consulting firm, involved in the worldwide distribution of feature films and television programs. The company’s specialty is to help create value for its clients by uncovering revenue streams from all available sources, expanding their reach in the global marketplace.

Further details of the titles can be found on the companies’ websites at www.incentivecapitalfund.comand   www.recreation-media.com.

About Incentive Capital, LLC

Incentive Capital, LLC is a media fund that provides financing in film, television, and music, primarily in collateralized transactions involving production tax incentives, distribution advances, presales, mezzanine, and gap finance.  With the acquisition of the film library and other media assets, Incentive is expanding its media holdings and presence in finance, distribution, and production.

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
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