By Ray Pride Pride@moviecitynews.com

Hulu Takes First-Window Streaming On All NEON Output

[PR] HULU AND NEON SET EXCLUSIVE PARTNERSHIP AND CUTTING-EDGE OUTPUT LICENSING AGREEMENT

New Deal Grants Hulu First-Window Streaming Rights to All NEON Conten

SANTA MONICA, CA  – Hulu and NEON have inked a brand new, multi-year output licensing agreement for all upcoming films and content released via NEON. The deal marks the first of its kind for NEON, and will expand Hulu’s growing offering of new, critically acclaimed films with all of NEON’S future titles becoming available to stream exclusively on Hulu following their theatrical release.

NEON, the distribution company formed by Tom Quinn and Tim League, released its first feature, Nacho Vigalondo’s COLOSSAL, on April 7.  The company also recently announced the launch of a short film division (NEON shorts), which brings back the long-honored tradition of combining feature films with shorts. With an innovative approach to distribution and a slate of award winning films, NEON is committed to building a vibrant home for auteur driven cinema.

“This output deal represents a groundbreaking approach to building the most comprehensive and interactive platform dedicated to visionary cinema.  NEON is thrilled to find a partner as innovative, collaborative, and as transparent as Hulu.  It’s a perfect match,” said NEON co-founder and CEO Tom Quinn.

“Our partnership with NEON marks another big step forward in our commitment to offering a world-class collection of films to our subscribers,” said Craig Erwich, SVP and Head of Content, Hulu. “NEON has already acquired a highly-anticipated slate of films this year and we can’t wait to bring their titles from the theaters to the Hulu audience.”

The new deal reinforces Hulu’s continued efforts to double down on film programming and follows of a string of pay one window output agreements with independent distributors including Megan Ellison’s Annapurna Pictures, Magnolia Pictures and IFC Films for documentaries.

ABOUT HULU

Hulu is a premium streaming television destination that offers hundreds of thousands of hours of the best of current season programming, premium original content, films and full seasons of hit series to subscribers with limited commercials for $7.99 per month and commercial free for $11.99 per month. Hulu is the only subscription streaming service that offers current season content from the largest U.S. broadcast networks, as well as acclaimed Hulu Originals including The Mindy Project, The Path, 11.22.63, Difficult People, the Golden Globe® nominated comedy series Casual, and the upcoming The Handmaid’s Tale, Future Man and The Looming Tower. Since its launch in 2008, Hulu has been at the forefront of entertainment and technology and continues to redefine TV by connecting viewers with the stories they love.

ABOUT NEON

NEON released its debut film, Nacho Vigalondo’s COLOSSAL, starring Anne Hathaway and Jason Sudeikis in theaters April 7. NEON was an active buyer at the 2016 Sundance Film Festival, acquiring Michael Larnell’s ROXANNE ROXANNE, winner of the Special Jury Breakthrough Performance Award, Matt Spicer’s INGRID GOES WEST, winner of the Waldo Salt Screenwriting Award and Eliza Hittman’s BEACH RATS, winner of the Directing Award, U.S Dramatic. NEON recently announced the acquisition of the French language Belgian thriller, RACER AND THE JAILBIRD, Errol Morris’ latest film, THE B-SIDE, SXSW audience sensation, Aaron Katz’s GEMINI and Academy Award winning director, Laura Poitras’s RISK.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon