The Marcus Hu collection spans the years 1972 to 1998 and encompasses 5 linear feet. The collection consists primarily of production files (produced and unproduced) as well as a small amount of television material and subject files. While there are scripts for films distributed by Strand Releasing, there is very little documentation about Hu’s work as a co-founder of the distribution company. Much of the material appears to have been collected by Hu as a fan of horror, Stephen King, and filmmakers such as Brian De Palma and Robert Towne, while some of the material was collected during Hu’s brief stint working for Carolco Pictures in Strand’s early years.

The production files (produced) comprise the bulk of the collection and consist entirely of scripts. Of the 65 scripts in the series, only FRISK (1996), GRIEF (1994), and I THINK I DO (1998) were distributed by Strand Releasing, while FRISK, GRIEF, and THE LIVING END (1992) are the only films in the collection representing Hu’s production credits. Nearly all of the produced scripts pre-date Strand’s formation in 1989. There are numerous scripts for horror films, including AN AMERICAN WEREWOLF IN LONDON (1981), THE BLOB (1988), BLOOD DINER (1987), CAT PEOPLE (1982), THE HOWLING (1981), THE HUNGER (1983), POLTERGEIST (1982), and RETURN OF THE LIVING DEAD (1985), among others. There are scripts derived from Stephen King’s works, such as CARRIE (1976), CHRISTINE (1983), CREEPSHOW 2 (1987), FIRESTARTER (1984), and STEPHEN KING’S CAT’S EYE (1985). In addition to CARRIE, there are scripts for other Brian De Palma films such as BODY DOUBLE (1984), DRESSED TO KILL (1980), PHANTOM OF THE PARADISE (1974), and SISTERS (1973). The series also contains scripts for CHINATOWN (1974), TEQUILA SUNRISE (1988), and THE TWO JAKES (1990), all written by Robert Towne.

The production files (unproduced) contain screenplays spanning the 1980s and 1990s from several notable writers and filmmakers. There is an undated draft of RONNIE ROCKET, written by David Lynch and intended to be his follow-up to ERASERHEAD (1978), as well as a script for ONE SALIVA BUBBLE, written by Lynch and Mark Frost before the two collaborated on the television series TWIN PEAKS (1990-1991). There are two scripts by Paul Bartel, BLAND AMBITION, a sequel to EATING RAOUL (1982) written with Dick Blackburn, and GETTING AWAY WITH MURDER, co-written with Bruce Wagner. Also included are scripts by Brian De Palma, John Hughes, Mardik Martin, Michael Medved, Arnold Schulman, Paul Theroux, Todd Verow, and John Waters. Of interest are drafts for BEDLAM, a remake of the 1946 film of the same name, that was written by John Sayles, and was to be directed by Alison MacLean and executive produced by Martin Scorsese.

The television files consist of Paul Monash’s script for the SALEM’S LOT miniseries (1979). The subject files include Strand Releasing’s distribution offer to Aziz Ghazzal for THE NATURAL HISTORY OF PARKING LOTS (1990), a copy of a letter from Debra Granik to Nina Menkes, correspondence regarding the production of BLUE SKIES ARE A LIE (1998), and project information from Rosa von Praunheim Filmproduktion. There is also a 1986 coverage format guide from Tri-Star Pictures.

Marcus Hu was born in San Francisco, California in 1963. Hu’s career in film began with a brief stint as a booker for Vestron Pictures. There he met Jon Gerrans, also from the Bay area, who was working in the business affairs and legal department. Hu returned to San Francisco in 1988 to work at the Strand Theater as a programmer and assistant to the theater’s operator, Mike Thomas. Among Hu’s contributions to the Strand’s eclectic programming was an American International Pictures retrospective as well as a series of William Castle films complete with Castle’s in-theater promotional stunts. Hu and Thomas were also committed to screening daring international features and, after reading about Lino Brocka’s MACHO DANCER, they arranged to screen the film at the Strand. The screenings were so successful that Brocka proposed the two handle the film’s distribution in the United States. Hu contacted Gerrans in Los Angeles, and Hu, Gerrans, and Thomas formed Strand Releasing in 1989. The company was established with help from the Sundance Institute, which offered free office space, as well as $5000 from Hu’s mother. During Strand's early years, Hu also worked for Carolco Pictures.

MACHO DANCER was the first film distributed by Strand Releasing, and since then the company has released over 400 films covering a wide range of documentaries, international features, and American independent films. The company is particularly well known for distributing numerous LGBTQIA films, such as NO SKIN OFF MY ASS (1991), SWOON (1992), TOTALLY F***ED UP (1994), POSTCARDS FROM AMERICA (1995), STONEWALL (1995), PARTY MONSTER (2003), and TROPICAL MALADY (2004). Hu and Gerrans have also ventured into film production. Both served as producers on THE LIVING END (1992), again with financial assistance from Hu’s mother, SUPER 8 ½ (1995), FRISK (1996), LATIN BOYS GO TO HELL (1997), PSYCHO BEACH PARTY (2000), and BAD ACTRESS (2011). Hu has also produced on his own, with GRIEF (1994), MOD FUCK EXPLOSION (1995), and BILLY’S HOLLYWOOD SCREEN KISS (1998), among others. The Museum of Modern Art in New York held 10 and 20 year anniversary retrospectives for Strand Releasing, and the company’s 30 year anniversary saw the release of 30/30 VISION: 3 DECADES OF STRAND RELEASING (2019), an omnibus film featuring new shorts submitted by many of the filmmakers whose work has been distributed by the company.