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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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