By Ray Pride

NEON Launches New Label, Super LTD, With Anthony Bourdain-Produced Doc


Super LTD, the newly announced boutique division and incubator from NEON headed by industry veterans Dan O’Meara and Darcy Heusel, officially opened for business with the acquisition of Anna Chai and Nari Kye’s WASTED! THE STORY OF FOOD WASTE executive produced by Anthony Bourdain who makes several cameos in the film.  The documentary, which had its buzzy world premiere on Earth Day at this year’s Tribeca Film Festival, is produced by Zero Point Zero Films with support from The Rockefeller Foundation as part of the Foundation’s YieldWise program, a $130 million commitment to cutting food waste in half.

WASTED! THE STORY OF FOOD WASTE aims to change the way people buy, cook, recycle, and eat food.  Through the eyes of chefs like Bourdain, Dan Barber, Mario Batali, Massimo Bottura and Danny Bowien, audiences will see how the world’s most influential chefs make the most of every kind of food, transforming what most people consider scraps into incredible dishes that create a more secure food system. The film exposes the criminality of food waste and how it’s directly affecting climate change.

“This is an important and informative film and a project I’m proud to be part of. Chefs have been at the cutting edge of efforts to contend responsibly with the problem of food waste, perhaps because they, more than others, are painfully aware of the egregious volume of perfectly usable, nutritious food that could otherwise feed people in need, being thrown out in our restaurants. “– Anthony Bourdain, Author, Chef, Executive Producer

“Super LTD will create smart, customized release strategies for films that seize on the cultural and political moment. WASTED! THE STORY OF FOOD WASTE presents a revolutionary vision that will radically change the way we think about food. We couldn’t dream up a better movie to launch Super LTD,” said O’Meara and Heusel.

Dan O’Meara is currently the VP Special Projects & Documentary at NEON. Previously he consulted at RADiUS on social action campaigns for all their documentary releases including FED UP, THE HUNTING GROUND and Academy Award winner CITIZENFOUR. O’Meara’s producing credits include the documentaries BY THE PEOPLE: THE ELECTION OF BARACK OBAMA, FREAKONOMICS, and PRINT THE LEGEND.

Darcy Heusel is VP of Audience Engagement and Impact at NEON. She has worked on the acquisitions, distribution, and traditional and social impact marketing for independent films across the last decade. Before joining NEON, Heusel was Senior Vice President of Impact at Picture Motion, a marketing and advocacy firm for social issue films. In this role, she built and executed national social action campaigns for narrative and documentary projects including THE ZOOKEEPER’S WIFE, AMERICA DIVIDED, FED UP, FRUITVALE STATION, and AMERICAN PROMISE. Prior to Picture Motion, Heusel served as the Director of Programming and Marketing at and the Director of Acquisitions and Marketing at Screen Media Films.

WASTED! THE STORY OF FOOD WASTE is directed by Anna Chai and Nari Kye. The feature-length documentary is produced by Zero Point Zero Films, Joe Caterini and Lydia Tenaglia with support from The Rockefeller Foundation.  The film was executive produced by Anthony Bourdain, Joe Caterini, Christopher Collins, Nari Kye, and Lydia Tenaglia.

The deal was negotiated by Super LTD and Cinetic on behalf of the filmmakers.


NEON’S debut film was Nacho Vigalondo’s COLOSSAL, starring Anne Hathaway and Jason Sudeikis. NEON was an active buyer at the 2016 Sundance Film Festival, acquiring 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 released Academy Award winning director, Laura Poitras’s RISK, Ana Lily Amirpour’s THE BAD BATCH and Errol Morris’, THE B-SIDE.  They’ve announced the acquisition of the French language Belgian thriller, RACER AND THE JAILBIRD, SXSW audience sensation, Aaron Katz’s GEMINI, Harmony Korine’s THE BEACH BUM and the 2017 Toronto International Film Festival opening night film by Janus Metz, BORG/MCENROE.  This past weekend NEON released Matt Spicer’s INGRID GOES WEST, starring Aubrey Plaza and Elizabeth Olsen, to the highest per screen average of the weekend and they’ll release Eliza Hittman’s BEACH RATS in theaters on August 25th.

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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