fans are starting to buy tickets simply because they see A24’s retro logo on a trailer
在刚结束的第95届Oscar 颁奖中A24 拿到了9个奖项。包括 The Whale （一共两个奖项）的最佳男主和 Everything Everywhere All at Once （一共7个奖项）的最佳电影, 最佳导演，最佳女主，和最佳男女配。
创立于2012年，过去几年A24 慢慢从小众圈子里走出来。早期的时候horror movie 会比较多些：Ari Aster’s “Hereditary” and “Midsommar”； 2016年凭借 Moonlight 第一次拿到Oscar （就是和La La Land 乌龙那次），第二次是2018年的Lady Bird。
A24 has delivered one cultural thunderclap after another, peaking with “Moonlight,” last year’s surprise winner (especially to the folks of “La La Land”) of the Oscar for best picture.
电视剧有比如 HBO 发行的 Euphoria 和 Hulu 发行的 Ramy。
The name "A24" was inspired by the Italian A24 motorway Katz was driving on when he decided to found the company.
As the DVD market collapsed, making thin studio profit margins even thinner, film companies became desperate to cut marketing costs (“spray and pray” television campaigns mostly) by going directly to consumers through Facebook, Instagram and Twitter. But most established studios — hindered by hierarchies and allergic to talk of social media algorithms — were struggling to treat tweets and Instagram posts as the spine of a marketing campaign instead of an add-on.
.... For most theatrical releases, A24 would spend roughly 95 percent of its marketing money online, using data and analytics to stitch films into the social media firmament in ways that prompts movie lovers to feel a sense of discovery and pass the message on organically — persuading fans to persuade one another.
It has not done it alone. One secret weapon has been Operam, a stealth data and marketing start-up that helps studios, including Fox Searchlight, develop algorithms used to target potential ticket buyers on Facebook and other digital platforms. Another sophisticated vendor that has contributed to A24’s success is Watson/DG, a web-focused marketing agency.
Insiders say that the A24 culture bears more similarities to Silicon Valley than Hollywood. It’s run like a collective. Nobody has a formal title. Young staff members are empowered to challenge the founders.
At the same time, A24’s founders tapped into a deep unhappiness among young filmmakers about the state of the film business. Across Hollywood, all most executives talk about are franchises and “tent poles,” movies with edges sanded off so they can play to the widest possible global audience. Even most art house companies, struggling to fill seats in the age of Netflix, have become more dependent on stars and marketable concepts. Nothing bums out the auteur set faster.
BTW，因为The Whale 和 Everything Everywhere All at Once 等都没有在大的几个线上平台发行，所以到目前还没看过，希望早点能看到。