By Ray Pride Pride@moviecitynews.com

A24 OPENS DOORS FOR FILM DISTRIBUTION, FINANCE AND PRODUCTION

Daniel Katz, David Fenkel, John Hodges launch Company 

NEW YORK, NY (August 20, 2012) — Daniel Katz, David Fenkel and John Hodges today announced the formation of A24, a New York-based film company focused on distribution, financing and production. A24 will acquire finished films, and also finance and produce its own content.  The company plans to distribute eight to ten titles per year, several of which will have wide theatrical releases.

Commented Katz, Fenkel, and Hodges: “We see an exciting opportunity right now for movies in the domestic space especially given all the new ways to target moviegoers and the changes that are happening in the marketplace. We are looking forward to working with great storytellers to bring their films to audiences.”

Katz led the film finance group at Guggenheim Partners where he participated in over $500 million of film, TV and digital financing transactions, including THE SOCIAL NETWORK, ZOMBIELAND, the TWILIGHT franchise and TENDERNESS.

Fenkel was formerly President and Partner of NYC-based Oscilloscope Laboratories, Adam Yauch’s film distribution and production company.  Fenkel and Yauch co-founded the company in 2008, and Fenkel maintained oversight of all aspects of the company including theatrical, in-house DVD, and direct digital distribution, acquisitions, marketing, and operations.  In its first four years, Oscilloscope’s films received six Oscar nominations.  Fenkel spearheaded releases for Lynne Ramsay’s Golden Globenominated WE NEED TO TALK ABOUT KEVIN starring Tilda Swinton, John C. Reilly, and Ezra Miller, Oren Moverman’s Oscar-nominated THE MESSENGER starring Ben Foster, Woody Harrelson and Samantha Morton and Kelly Reichardt’s WENDY & LUCY, both starring Michelle Williams.

Hodges previously served as Head of Production & Development at Big Beach Films (LITTLE MISS SUNSHINE, SUNSHINE CLEANING, AWAY WE GO, OUR IDIOT BROTHER).  Hodges executive produced the Jesse Peretz’s OUR IDIOT BROTHER starring Paul Rudd and Elizabeth Banks; and Colin Trevorrow’s SAFETY NOT GUARANTEED starring Aubrey Plaza and Jake M. Johnson.  He also produced the just completed Jordan Vogt-Roberts TOY’S HOUSE, based on Chris Gulletta’s Black List script. Prior to joining Big Beach, Hodges was a Production Executive at Lorne Michaels and John Goldwyn’s Paramount-based production company, and previously was an Acquisitions Executive at both Focus Features and USA Films.

A24 headquarters will be in NYC.

Facebook.com/A24Films

A24Films.com

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2 Responses to “A24 OPENS DOORS FOR FILM DISTRIBUTION, FINANCE AND PRODUCTION”

  1. Paul Friedman says:

    TO: Daniel Katz, David Fenkel and John Hodges
    at A24

    Dear Mr. Kata, Fenkel and Hodges,

    I am aware that A24 often produces its own content. Below, I seek your company’s interest in producing my spec comedy “MOB CAMP”.

    “MOB CAMP”
    – A coming-of-age satirical black comedy –

    LOGLINE: Rebellious teens of Mafia dons are packed off to ‘Mob Camp’ to learn the tools-of-the-trade, but the choice of camp-location has dislodged the brutal Spanish-Harlem Mafia: Big Mistakesy!

    ****

    A Teensy-Weensy More Story: The young hero of our story, never interested in the ‘family business’, wants to be a writer. His first book, a sex manual for teenagers titled: “DOING IT RIGHT THE FIRST TIME” is a New York Times Best Seller! — Near the end of camp training, our young hero’s father (a Mafia don) is seriously wounded and the youngster returns home to destroy his father’s enemies.

    Nothing wrong with that, but the kid has fallen in love with the daughter of his father’s most dreaded enemy, a don of the ruthless Spanish Mafia!

    May I send you a copy of Mob Camp?

    Paul L. Friedman
    Adjunct Professor, USC Cinema
    Screenwriting Div.
    friedmac3@gmail.com
    310-433-3436 Cell

  2. Paul Friedman says:

    TO: Daniel Katz, David Fenkel and John Hodges
    at A24

    Dear Mr. Kata, Fenkel and Hodges,

    I am aware that A24 often produces its own content. Below, I seek your company’s interest in producing my spec comedy “MOB CAMP”.

    “MOB CAMP”
    – A coming-of-age satirical black comedy –

    LOGLINE: Rebellious teens of Mafia dons are packed off to ‘Mob Camp’ to learn the tools-of-the-trade, but the choice of camp-location has dislodged the brutal Spanish-Harlem Mafia: Big Mistakesy!

    ****

    A Teensy-Weensy More Story: The young hero of our story, never interested in the ‘family business’, wants to be a writer. His first book, a sex manual for teenagers titled: “DOING IT RIGHT THE FIRST TIME” is a New York Times Best Seller! — Near the end of camp training, our young hero’s father (a Mafia don) is seriously wounded and the youngster returns home to destroy his father’s enemies.

    Nothing wrong with that, but the kid has fallen in love with the daughter of his father’s most dreaded enemy — a don of the ruthless Spanish Mafia!

    May I send you a copy of Mob Camp?

    Paul L. Friedman
    Adjunct Professor
    USC Cinema – Screenwriting Div.
    friedmac3@gmail.com
    310-433-3436 Cell

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch