The assumed “rivalry” between A24 and Neon have finally disappeared – and it is actually Netflix The neon is counted as their “biggest competitor” for acquisition titles.
Neon founder and CEO Tom Quinn told Amount That his studio tried to buy New Netflix hits Richard Linklater’s “Hit Man”, Todd Haynes “May December” and Chloe Domont’s Sundance Breakout “Fair Play.” In turn, Netflix previously tried to lock down “I, Tonya” and “Portrait of a Lady on fire”, both of which were award -winning neon release.
Quinn detailed how it was Netflix, and not colleague Indie Studio A24, who turned out to be the main competition.
“The industry believes that there is a rivalry (between Neon and A24), and there is not,” Quinn said. “These are good headlines. I thought they could be our biggest competitor. But as it turns out, our biggest competitor has been Netflix. They desperately tried to beat us to buy ‘I, Tonya’ and ‘Portrait of a Lady on Fire’, and we ended up losing them on ‘Hit Man’, ‘May December’ and ‘Fair Play.’ There are a lot of movies where I am the second highest bidder (to Netflix). “
It was a new one filmBut that A24 Woo away from Neon: Brady Corbet’s Oscar-winning “The Brutalist.” While “The Brutalist” won the best actor for Adrien Brody (as well as best original points for Daniel Blumbar and Best Movie for Lol Crawley), Neon’s “Anora” took the best title on best picture, along with best director, best original manus Best editing for Sean BakerAnd best actress for Mikey Madison.
Quinn considered “The brutalist” as a “stone -koldt masterpiece.” As Variety reported, the author/director Corbet chose to go with the A24 partly because the studio would theatally show the film in 70 mm, something that Quinn was unsure of neon.
“I was just thinking,” Brady, you’ve spent eight years doing this. Let’s make sure you have enough time to build each theater 70 millimeter prints, ”Quinn said. “Let’s not sacrifice anything. And I feel we will be rushed. ‘… as much as it hurt to say goodbye, I think Brady made the right decision. He wanted to go this year. “
Quinn brought his attitude to guide neon, “We follow the pace of our own drum. The idea of panding for the campaign as opposed to being who you are as a movie is a big, sharp difference. We never play for the campaign. We always play for the movie, the filmmaker and the audience – in that order. We are in a better position to be very intentional about who we want to work with. We have a really clear idea of who we are and what we want to do in an industry that can be quite incorrect and focused on today’s trend and approach each movie as a size fits everyone. ”
Quinn previously told Hollywood Reporter That Neon and A24 “exchange many directors” and are often both in discussions for the same films.
“We pick up films that they passed away from and vice versa, but we are not the same,” said Quinn 2024. “Here is a strong difference: during the first seven years they released three foreign films and three documentaries. We have released 64-32 foreign films and 32 documentaries. We are very different. Most of the industries are not, but more power for them.
