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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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

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