By MCN Editor editor@moviecitynews.com

BILLY JOEL’S THE LAST PLAY AT SHEA TO PREMIERE ACROSS THE COUNTRY ON OCTOBER 21 IN EXCLUSIVE ONE NIGHT ONLY SHOWS

TRIBECA FILM FESTIVAL HIT WILL ALSO HAVE FULL THEATRICAL RUNS IN SELECT CITIES

INNOVATIVE RELEASE STRATEGY COURTESY OF NEWMARKET FILMS IN ASSOCIATION WITH WREKIN HILL

Los Angeles, CA (October 14, 2010) – Nigel Sinclair, CEO and Co-Chairman of Exclusive Media Group (“Exclusive”) and Newmarket Films (“Newmarket”), Chris Ball, CEO and President of Wrekin Hill Entertainment (“Wrekin Hill”) and Steve Cohen of Maritime Pictures announced today that Newmarket Films, in association with Wrekin Hill, will release the acclaimed Billy Joel documentary feature film THE LAST PLAY AT SHEA on October 21, 2010 as a one-night only engagement at over 120 theaters across the country in such major cities as New York, Los Angeles, San Francisco, Miami, Chicago, Boston, Las Vegas, Philadelphia, Dallas, and Washington, D.C.. In addition, several venues will extend the film for a traditional theatrical run. The film was produced by Exclusive’s Spitfire Pictures Label and Billy Joel’s Maritime Pictures.

The intersecting histories of a landmark stadium, a volatile baseball team, and a music legend are examined in a film that charts the ups and downs of the New York Mets and the life and career of Long Island native Billy Joel. When Joel learned that he would be giving the last musical performance at Shea Stadium, he decided to capture the event on film and then create a unique motion picture that would also tell the story of Shea stadium itself, and its place in the New York and Long Island history. Joel brought on board his long-time collaborator Steve Cohen to produce the film and they turned to Spitfire Pictures as a partner. Directed by Paul Crowder, THE LAST PLAY AT SHEA, weaves interviews with players and performers with exclusive concert footage—featuring guests like Tony Bennett, Garth Brooks, John Mayer and Roger Daltrey, among others. The shows staged on July 16 and July 18, 2008, before a combined 110,000 fans, were the last performances ever to play the historic stadium. After 45 years, two Mets’ World Series victories, and a concert that introduced the Beatles to America, the last section of Shea Stadium was torn down and replaced by CitiField. “The Last Play at Shea’ was one of the most memorable concerts I have ever performed,” said Billy Joel. This uniquely American story is told through the voice of the working class Mets Fan – the incomparable Billy Joel as it takes the viewer on a nostalgic and emotional journey through the history of Queens, NY and the emergence of the suburban middle class, the tale of one Long Islanders’ road to superstardom, the historic stadium and the teams and fans that inhabited it, and a seminal moment in Rock and Roll history coming full circle from the day the Beatles christened Shea Stadium as a cultural icon.

THE LAST PLAY AT SHEA premiered earlier this year at the 2010 Tribeca Film Festival. It was also screened on August 21, 2010 at CitiField, making it the biggest outdoor movie presentation since 1919. The film is produced by Sinclair of Exclusive/Newmarket and Steve Cohen, who has served as Billy Joel’s concert production designer /director for 36 consecutive years and has produced live tours for such acts as Elton John, Justin Timberlake, and The Eagles. Executive producers are Todd Kamelhar, Greg Whiteley and Glen Zipper.

“So many wonderful ball players and sportsmen, rock stars and entertainers, great storytellers and writers contributed to this film,” says Sinclair. “We are thrilled with the chance to share it with a wider audience.”

Notes Ball: “After the tremendous reception the film received at both the Tribeca Film Festival and to a crowd of over 25,000 people at CitiField, we decided to give theater goers across the country the opportunity to see the film. We are confident that anyone who is a fan of music, sports, or New York history will be drawn to this fascinating documentary.”

“At every screening, audiences have responded in a very emotional way,” says producer Cohen. “The story melds music, history and the culture of suburbia in a way that is so relatable to people that they emerge from the film beaming. It’s a love letter to New York for sure, but more than that it’s truly an American Tale. I’m so excited that audiences across the country will have a chance to enjoy the film, and get to spend 90 minutes ‘forgetting about life for a while.”

For a list of all cities and theaters, as well as ticket purchase information, please visit www.thelastplayatshea.com

ABOUT EXCLUSIVE MEDIA GROUP (“EXCLUSIVE”)
Exclusive Media Group is a vertically integrated independent film studio which was founded by strategic investment group, Cyrte Investments, in May 2008 Exclusive comprises:

Three development & production labels –
· Exclusive Films, whose maiden production is Peter Weir’s The Way Back.
· Hammer Films, the iconic brand which already has Let Me In in release, and The Resident being readied for release.
· Spitfire Pictures, which has become the specialist documentary film production house.

US theatrical distributor – Newmarket Films.

3. International Sales & Marketing Operation for in-house and third party product – Exclusive Films International.

Exclusive Films International also monetizes a significant film library of over 550 film titles.

Exclusive is run by Co-Chairmen Nigel Sinclair and Guy East. Sinclair also serves as Group CEO and Chairman of Newmarket, East as Chairman of Exclusive Films International. Simon Oakes serves as Vice-Chairman of the Group Board as well as President and CEO of Hammer. Marc Schipper and Andy Mayson serve on the Executive Board, as COO and Managing Director/CFO respectively, overseeing the operations, finance and strategic development of the worldwide group Exclusive’s strategy is to build a vertically integrated global film entertainment group which develops and controls its own intellectual property and exploits it on a cross-media basis in the digitally converged era. Exclusive has an active development slate and produces, finances and markets 3-5 high-quality commercial feature films and documentaries per year under its three production labels Exclusive actively acquires further feature films for international distribution via Exclusive Films International, and for US theatrical distribution via Newmarket Films. The Group also develops and produces projects for television and digital platforms.

Exclusive continues to actively explore strategic expansion through M&A transactions and joint ventures – specific focus is on the acquisition of further high-quality film libraries and local territory distribution.

ABOUT NEWMARKET FILMS (“NEWMARKET”)
Founded in 1994 by William Tyrer and Chris Ball, Newmarket grew from a private film finance company to one of the preeminent producers and distributors of independent film in the world.

By 1998, having been involved in the financing of over 75 features such as The Usual Suspects, Jim Jarmusch’s Dead Man, and the Wachowski’s debut Bound, Tyrer and Ball had built a creative team and expanded into production. Newmarket’s first production was Memento, written and directed by Christopher Nolan. This film was followed up with such productions and co-productions as The Mexican, Cruel Intentions, The Skulls, Prom Night and The Prestige.

Newmarket’s distribution arm, Newmarket Films, was created to theatrically release Memento in the US in 2000. The company followed up this release with a surprising string of critical and box office successes that sounds like a roll call of great indie cinema: Donnie Darko, Whale Rider, Monster, Downfall and The Passion of the Christ. Through its production and distribution activities, Newmarket built-up a library of well over 250 titles.

In December 2009, Newmarket was acquired by Exclusive Media Group, and Newmarket’s US theatrical releasing business was substantially expanded and recapitalized, leading to the acquisitions of Creation, Agora and Sundance favorite Hesher.

ABOUT WREKIN HILL ENTERTAINMENT (“WREKIN HILL”)
Chris Ball co-founded Newmarket Films in 1994 and acted as COO of that company until December 2009 when Exclusive Media acquired Newmarket. After Exclusive’s acquisition of Newmarket, Ball became Co-Chairman of Exclusive and President of Exclusive Media USA. As Co-founder (with William Tyrer) and COO of Newmarket Films, Ball helped oversee the growth of the company from a private film finance company to one of the preeminent producers and distributors of independent film. During Ball’s time at Newmarket he helped build a library that consists of interests in more than 250 titles. Ball has been Executive Producer on more than 20 films including Memento, Cruel Intentions, Donnie Darko and The Prestige.

Rene Cogan was Chief Financial Officer of Newmarket Films for over 13 years until December 2009. She was responsible for all financial aspects of the company including corporate transactions, development, production and distribution of films. After Exclusive’s acquisition of Newmarket, Rene became Exclusive Media Group’s Chief Financial Officer, US Operations. Before joining Newmarket Films, Rene was employed at KPMG as Senior Manager in the entertainment practice for eight years based in Century City and London.

John Crye was Director of Development and Acquisitions of Newmarket Films until December 2009. Crye was a creative force behind Newmarket Films for over 12 years, making an indelible impression on all aspects of creative affairs, from development and production, to acquisitions and marketing. As Director of Development, Crye shepherded such films as Memento, The Mexican and The Prestige from concept to script. In his role as Director of Acquisitions, Crye acquired such titles as Donnie Darko, Whale Rider and Downfall. After Exclusive’s acquisition of Newmarket, John became Exclusive Media Group’s Vice President of Acquisitions where he acquired Agora, Creation and Sundance 2009 favorite Hesher.

ABOUT BILLY JOEL
Having sold more than 100 million records in a career spanning over 40 years, Billy Joel ranks as one of the most popular recording artists and respected entertainers in the world. Most recently, The New York Mets announced Billy Joel will become the final artist to perform at the Legendary Sports/Music Venue, Shea Stadium at what has been dubbed “The Last Play at Shea,” July 16 and 18. In 2006, Billy Joel broke the Madison Square Garden record for the longest sequence of sold-out shows by a single artist. On April 24, 2006, at the twelfth show of that same sold-out MSG run, Billy broke his own record and Madison Square Garden celebrated the event in true New York style, raising a banner to emblazoned with “#12” to the venue’s rafters. As Billy’s banner joined the numbers of the Rangers and the Knicks, the Bronx-born Long Island-raised show business legend became the first non-athlete ever to be honored with a “retired” number on the rafters of the Garden. Mr. Joel has had 33 Top 40 hits and 23 Grammy nominations since signing his first solo recording contract in 1972. He received the Recording Industry Association of America Diamond Award, presented for albums that have sold over 10 million copies, for his Greatest Hits Volume I and Volume II. His other musical ventures include Movin’ Out, a Broadway musical based on Mr. Joel’s music, choreographed and directed by Twyla Tharp, which garnered Mr. Joel his first Tony Award for Best Orchestrations. Mr. Joel received Grammy awards for Record of the Year and Song of the Year in 1978 for his song “Just the Way You Are”; Album of the Year in 1979 for 52nd Street; and Best Male Pop Vocal Performance in 1979 for 52nd Street and in 1980 for Glass Houses. In 1990 Mr. Joel was presented with a Grammy Legend Award. Inducted into the Songwriters Hall of Fame in 1992, he was also presented with the Johnny Mercer Award in 2001. In 1999 he was inducted into the Rock & Roll Hall of Fame and in 2004 received a star on the Hollywood Walk of Fame. His other awards include the ASCAP Founders Award, the BMI Career Achievement Award, the American Music Awards Award of Merit, and the James Smithson Bicentennial Medal. Mr. Joel has donated his time and resources to a variety of charitable causes, and he has recently launched an ongoing educational initiative to provide seed money, musical scholarships, and endowments to a variety of East Coast colleges, universities, and music schools. For his accomplishments as a musician and as a humanitarian, he was honored as the 2002 MusiCares Person of the Year by the MusiCares Foundation and the National Academy of Recording Arts & Sciences; he has also received a humanitarian award from the Cathedral of St. John the Divine. The net proceeds of Mr. Joel’s composition, “Christmas in Fallujah,” inspired by soldiers’ letters from Iraq, will be donated to Homes for Our Troops, a nonprofit organization that builds specially adapted homes for disabled service members returning from Iraq and Afghanistan

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One Response to “BILLY JOEL’S THE LAST PLAY AT SHEA TO PREMIERE ACROSS THE COUNTRY ON OCTOBER 21 IN EXCLUSIVE ONE NIGHT ONLY SHOWS”

  1. Jonathon Fleister says:

    I thought this was one of the best sounding movies I’ve ever heard. I highly suggest everyone to try and see it in the theater. It really sounded and felt like you were AT Shea Stadium. Very good use of the surround speakers and a great looking piece too. Everything is top notch. Looks like they put a lot into this one. It shows
    J.F.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon