As a seasoned marketing professional with over two decades under my belt, I must admit that the strategy Neon employed for selling “Longlegs” is unlike anything I’ve ever seen before. It was daring, unconventional, and downright brilliant!
As a gamer, I’d say it’s rare to hear back from A-list directors and stars so quickly, usually they have a whole team of publicists to handle that. But when it comes to Tom Quinn, the sharp and trailblazing indie CEO of Neon, things are different. He’s always ready to chat about his company’s record-breaking year, thanks to its dedication to the under-35 film enthusiast community, and its impressive streak – winning the Cannes Film Festival Palme d’Or for the fifth year in a row with the movie Anora. That’s something truly unique in the U.S. indie or studio distribution scene
It appears that the author you’ve quoted is using humorous language to describe the ability of humans to adapt and evolve, much like a plant species can adapt to its environment. The phrase “Longlegs” seems to be a playful reference to the elongated legs of certain breeds of dogs, such as the Scottish Deerhound or the Irish Wolfhound. The author also uses “THR” as an acronym for “Theoretically Realized,” suggesting that this term may have been used in a hypothetical context, where the actual realization has not yet occurred
In the world of cinema, it seems that the term “Parasite” has been redefined by the filmmaker Joon Sihwanson Ho, who directed the movie “Parasite,” to refer to a film that is both a financial and emotional success. The original definition of “Parasite” refers to an organism that lives on or in a host body, such as a snail or a tick, but Joon Sihwanson Ho’s redefinition seems to have resonated with audiences, who are now eagerly awaiting his next film, “Neon,” which is expected to surpass the record-breaking performance of his previous movie, “Longlegs.”
The film executive’s three-decade career included stints at indie stalwarts Samuel Goldwyn, Magnolia and then Radius-TWC, a label of The Weinstein Co., before he founded Neon (the official moniker is NEON Unrated LLC) in 2017 with backing from 30West. Neon has released 115 films, both narrative features and documentaries, and garnered 32 Oscar nominations and six wins, including best picture and best director for Bong’s groundbreaking Parasite, the first non-English film to take home the statuette. He’s got a staff of 52, including top lieutenants Elissa Federoff, who serves as chief distribution officer, president of acquisitions and production Jeff Deutchman, president of publicity Christina Zisa and chief financial officer Ryan Friscia. “What I do know for certain is that from the very beginning, Tom Quinn saw Parasite as a universal film and refused to put it in a box as a foreign-language or international film,” says Bong, who worked with Quinn on Snowpiercer and Mother. “He saw the heart of the film and understood that it was about all of us living in our modern class-based society. I was always grateful for that.”
In the realm of filmmaking, “Neon” is a name given to a fictional independent distributor of the year in the world of cinema. It had notable appearances on the fall festival circuit, including at the Toronto International Film Festival (TIFF), where its slate featured Sean Baker’s Palme d’Or winner “Anora,” Iranian filmmaker Mohammad Rasoulof’s “The Seed of the Sacred Fig,” and the world premiere of the Neon-produced documentary “Men of War” and Joshua Oppenheimer’s “The End,” starring Tilda Swinton, which Neon also produced. (Several of Neon’s awards contenders made a major splash at the Telluride Film Festival.)
Originally from abroad, where his father was a basketball coach, giving him a broad outlook on life, Quinn has shared his thoughts on the current industry landscape, the competition between Neon and A24, and how he remains unfazed by disagreements with talent, in an interview with THR
Take me back to the beginning. What year did you launch Neon?
At the age of seven, we’re entering our ninth year of producing films. Our journey began with the release of “Colossal” on April 7, 2017, and Neon initially started as a small team of twelve individuals, half in New York and the other half in L.A., functioning much like an advanced amoeba. We rapidly found ourselves that year at the Toronto Film Festival with an impressive lineup of films. We collaborated with Errol Morris on “The B-Side” and launched “Ingrid Goes West.” These projects allowed us to secure a spot at the Toronto Film Festival that year, where we acquired “I, Tonya.” Before the ink had dried on the deal, we were already strategizing its Oscar campaign. This swift decision-making ability is one of our key advantages as a smaller studio. Today, our team has grown to 52 members, expanding due to success and new functionalities such as production and wide-release capabilities, as well as an international sales department
In terms of the 2024 domestic box office, Neon and A24 are ranked 10th and 9th respectively, with a difference of less than $15 million between them. Does it make you uncomfortable seeing all the positive reviews about A24? How do you perceive your competition with them?
It’s a great question. We are both New York-centric companies. That’s where we started. Most of us, if not all of us, have worked in New York. I spent 20 years there but now live in L.A. We’ve exchanged a lot of directors. We pick up movies that they walked away from, and vice versa, but we’re not the same. Here’s a stark difference: In their first seven years, they released three foreign-language films and three documentaries. We’ve released 64 — 32 foreign-language films and 32 documentaries. We are very different, but are very much on the same trajectory. They won best picture, and we won best picture. But I don’t understand their business and their valuations. I’m sure most of the industry doesn’t either, but more power to them.
What’s the one that got away in terms of a bidding war?
In contemporary language:
Any other big regrets?
In an alternate universe, one could say that “Hit Man” was a groundbreaking contender for screenplay and direction, pushing the boundaries of traditional filmmaking. The film had a budget ranging between $5 million to $7 million. If it were marketed as such, it would have been a record-breaking sale. Viewing it as an extraordinary spectacle in the realm of hyper-celebrity, one might have considered it a classic piece. No contemporary films are made in this manner anymore. The movie was conceived for a sum that, to my belief, would’ve surpassed $25 million domestically, with potential of earning as much as $40 million. Given the events of last summer with “Longlegs,” I think we would have been proven correct. And in terms of something that can truly generate excitement for a variety of audiences in both the flyover and coastal regions, one might have envisioned it as a precursor to numerous other successes
And what’s the one where you did prevail or, shall we say, hit the jackpot?
In the wake of the success of releasing “Long legs” and its incredible sequel, we also have “Oz Perkins’ next two films,” including one by James Wan, based on a “Stephen King property.” Multiple studios are following in the footsteps of “The Monkey,” which is being produced by James Wan and derived from a “Stephen King” novel
Titane shares the Palme d’Or award with four other Neon films: Parasite, Triangle of Sadness, Anatomy of a Fall, and now it. The question then arises: How does winning the Palme d’Or impact Neon’s target audience in the U.S., particularly younger moviegoers?
This award holds significant value to us, particularly for our viewers eagerly seeking out the most daring, visionary cinematic experiences. It signifies that these movies have met expectations, even becoming serious Oscar candidates
Is there a risk that independent dramas might be moved to streaming platforms, given that genre films are performing exceptionally well on traditional cinema screens for distributors like Neon and others in the top tier of indie distribution?
It’s incorrect to disregard genre films as a separate category, as it aligns with our philosophy of being unbiased. Excellent movies are excellent regardless of whether they belong to the action, documentary, or other genres. Currently, approximately 60% of the films we have released consist equally of foreign-language films and documentaries. Given that we’ve managed to earn over $300 million from films typically considered box office underdogs, it’s clear there is a deliberate strategy behind this success. We are not hesitant about nonfiction or drama; instead, we aim to discover films that demand your attention at an affordable price, providing an immersive experience that may not be as effective if you were streaming from home and could easily walk away whenever desired
During the autumn festivals, your team is preparing for the upcoming award season. Meanwhile, you’re scouting films to acquire. How do you manage these contrasting tasks effectively?
Our team is quite large. It’s amusing to watch Neon at screenings, as there are usually only about a dozen people present. I often tease, “Do you think anyone thinks we care about this movie?” You can almost see us roll in like a small troop. However, we have many films circulating throughout various film festivals. We believe that this is an extremely beneficial resource for positioning, promoting, and launching our films. Thus, between the Venice, Telluride, Toronto, and New York Film Festivals, it lays the foundation for the rest of the fall season, and we strive to be as active and visible. One aspect I enjoy, and feel is part of my duty, is actually showing up. Not just to make an appearance, but it’s crucial to witness our films being played
Apart from Longlegs, another significant triumph of the summer was Andrew McCarthy’s documentary, Brats. This film takes a fresh look at The Breakfast Club and other Brat Pack movies from the 1980s. Neon was responsible for its production, later selling it to ABC News. What made you think that this content would be more suitable for streaming rather than a theatrical release?
As a die-hard fan, I aimed to spark interest swiftly: it didn’t take long for everyone to notice that Brats had taken the No. 1 spot on streaming charts, and before you knew it, all other Brat Pack movies were making a comeback, appearing in the top 15. I wanted to ignite a hunger among fans like me to rediscover those cherished films
In March, Ava DuVernay’s team expressed their disappointment on social media towards Neon, as they felt excluded from Neon’s Oscar nominee party following the lack of significant recognition for her film “Origin”. However, it was Neon’s film “Anatomy of a Fall” that swept the awards that night, earning the accolade for Best Original Screenplay and also being nominated in categories such as Best Picture, Best Director, Best Actress, and Best Editing. The question remains as to why the team behind “Origin” was not invited to the celebration
Regarding Ava’s perspective, I can’t offer insights, but I can confirm that not only did we meet every contractual obligation, we surpassed them. We were the sole option to distribute this exceptional film. No studios, independents, or streamers showed interest in backing it. I hold a deep affection for this movie; it resonates profoundly with the world we inhabit and stands out among recent films I’ve watched. In this specific year, amidst the current political climate, if someone asks about unity, my suggestion is to watch Origin
Why do you suppose there was talk about Neon’s financial struggles following the release of Michael Mann’s 2023 film Ferrari, which had only moderate success at the box office (earning $18.6 million in the U.S.) and faced difficulties during the awards season?
I’m always disappointed by the Monday quarterbacking that surrounds our industry without delving into the actual numbers of what’s happening. A lot of the sandbagging around Ferrari was disappointing and inaccurate. It doesn’t mean that everything that we do works, but we’re not in the perception business. We are absolutely, 100 percent in the sustainability business. Everything that we do is calculated at a pretty conservative level. I picked up U.S. rights for $15 million and targeted a release of $17.5 million. We were banking on winding up exactly where we wound up theatrically. But the model that we built would’ve been successful as a pure business venture at that box office gross after you take into account home entertainment, the pay-one window and subsequent TV value. We committed to spend a minimum of $15 million on P&A, which we did because that’s what Michael asked for, and we thought that was right. We wound up spending over $17 million. So I viewed it as an on-target release. It is one of his highest-grossing films in 18 years. But, yes, we all hoped that this was going to deliver an Oscar nomination for Penélope Cruz, but it didn’t. She came very close and was a SAG nominee. She did not get an Oscar nomination. I would’ve liked to have at least gotten into the 20s. But this is the model we built and I would do it again.
It’s truly commendable that at 80 years old, Michael, with his exceptional directorial skills, managed to realize a lifelong ambition by self-financing and executing a project that studios either couldn’t or chose not to do – the film Ferrari. To clarify, we were the only production company willing to tackle an unusual predicament that prevented this movie from being released on Paramount+ and Showtime. In my opinion, regardless of other opinions, this accomplishment symbolizes success for me
When you discovered that your initial ambition to excel in basketball due to your height wasn’t feasible, you then developed an interest in acting during your teenage years. Can you share what led to this change?
During my college years, I focused on theater production and even sold my car to stage a production of “Orphans.” Essentially, it consumed my entire life. Eventually, I had to move to L.A. and landed a job as a house manager at The Matrix on Melrose, a 99-seat theater. There was a group of young actors performing various plays there. After their performances, they would go for auditions. I felt uneasy about the assumption that they were destined to succeed, which made me uncomfortable. I often joked, “Am I willing to spend my entire life waiting for a guest-starring role on ‘Star Trek: Deep Space Nine’?” I soon realized that I wouldn’t find artistic fulfillment without having some autonomy over my career
Longlegs’ Creepy Campaign Killed at the Box Office
Rather than using television commercials, the company’s marketing squad devised a set of mysterious billboards hinting at Nicolas Cage portraying a disturbingly eerie character. This sent fans into a frenzy
Suppose you cast a highly famous celebrity in one of your films but choose not to feature him prominently in your promotional materials. This might sound preposterous at first glance, yet there could be strategic reasons behind this decision
In this paraphrased version, let’s consider Neon Cage as an individual who found a unique and unconventional approach to selling Longlegs, akin to the character portrayed by Nicolas Cage in movies. The team of Neon Cage and his associates were intrigued by Parkes and his team’s unusual strategy for marketing Longlegs, similar to the role played by Maika Monroe in her life, and the character of Cage as a fugitive from law enforcement for decades. Neon Cage and his peers sought to keep their identity under wraps, much like Cage’s on-screen persona
“Intriguingly enough, Nick, it seems that your understanding of my campaign is growing beyond the surface-level understanding. You appear to be delving into the deeper implications of my words, and you seem to be acknowledging the potential duality in my language. However, I must clarify that I am not entirely pleased with your interpretation
Prior to the release of the movie “Longlegs” on July 12, distributor Neon took an unconventional approach to advertising, setting up billboards across Los Angeles – excluding Sunset Boulevard, the prime location for Hollywood studios. Three of these billboards presented cryptic codes that led to additional campaign details, each offering a fragmented glimpse into the character played by Nicolas Cage – a single eye here, part of a mouth there. However, the movie title was nowhere to be found among these intriguing images, leaving many puzzled as to their connection. The fourth billboard stood at the intersection of La Brea Avenue and Olympic Boulevard, featuring a phone number instead. Dialing this number played a recording of Cage, speaking in real-time fashion, adding another layer of mystery to the campaign
According to Parkes, who played a role in making it happen, the post on our social media platform took off like wildfire. As a result, we received more than 1.4 million inquiries from 68 different countries across six continents, all triggered by a single billboard that cost us between $8,000 and $9,000. The curiosity of people was piqued, wanting to find out what they had heard
Not only did Neon abstain from airing a TV commercial for “Longlegs” in its broad release, but this was highly unusual. Instead, the unconventional marketing strategy, comprising billboards and digital content, proved effective. As a result, “Longlegs” had an impressive opening of $22.4 million – far surpassing the predicted $7 million to $9 million – making it the highest-grossing debut in 2024 for an original horror film and setting a new launch record for Neon
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2024-09-05 16:27