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Neon’s distribution topper Elissa Federoff hits Toronto with some high-profile titles: Bong Joon-ho’s Palme d’Or-winner “Parasite,” Alfre Woodard-starrer “Clemency” and Celine Sciamma’s Cannes prize-winner “Portrait of a Lady on Fire.” Neon has seen success in a subdued specialty pic B.O. climate with docs such as “Three Identical Strangers” and recently with “Luce,” “Honeyland” and “Wild Rose.”
The specialty film market is especially crowded in the fourth quarter, so how do you get your films in front of the public? What out of the box thinking comes with this territory now?
Neon - Awards - Season - Player - Acquisitions
Neon is positioned as a significant 2020 awards season player, having picked up some of the hottest acquisitions out of Sundance and Cannes. … Each one of our films is unique and will get its own specialized campaign. A tailor-made campaign for each of these films will allow them to rise above the noise, and garner the attention they deserve, but it starts with choosing films that are unparalleled in their cinematic craft, and willing to go places that typical studio specialty fare isn’t willing to go. That’s how we stand out and appeal to audiences who might be bored with generic biopics and stuff they can see at home. From there, it’s about being bold with our marketing and letting exhibitors, voters, and the audience know that we’re serious about these films even though we’re not the norm.
Drake Doremus Reflects on Toronto Fest Drama 'Endings, Beginnings'
Number - Screens - Are - Chains - Screens
What about the number of screens available? Are bigger chains opening up more screens for specialty pics?
There has always been a place for niche and specialty films in the marketplace, and that hasn’t changed. However, with some of the jaw-dropping success stories we’ve seen in the past few years, from films like “Three Identical Strangers,” the commitment from our theatrical partners has grown. “Apollo 11”...
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