From the "People" Archives:

Buyer Profile: Eamonn Bowles and Tom Quinn, Magnolia Pictures

Eamonn Bowles of Magnolia Pictures

Eamonn Bowles
President for 2 years since founding of company.

BACKGROUND: Left legal proofreading to become a print shipper at Libra Films. Worked at Samuel Goldwyn, Miramax, Thalia Theatre in NYC, Teleculture Films, and at Fabian Films, his own theatre programming/distribution company. Attended SUNY New Paltz and grew up in New Rochelle, NY. 47 years old.

MOST IMPORTANT FILM FESTIVALS: The big three for me are Toronto, Cannes and Sundance, although it is a year-long process. I prefer Toronto personally, because it strikes the best balance of volume of titles and curatorial limits. It covers the world in a big way, but everything is selected, i.e. no anyone-can-pay-for-a-screening market situation.

FAVORITE FILMS OF THE LAST THREE YEARS: "American Splendor," "Time Out," "Capturing the Friedmans," "Punch-Drunk Love," "The Trilogy," "Old School," many more that I can't think of off-hand.

RECENT FILMS INVOLVED WITH ACQUIRING: "Bukowski: Born Into This," "The Trilogy," "Bollywood Hollywood," "Bang Rajan."

TYPES OF FILMS COMPANY LOOKS FOR: The first criteria is whether the film stands a chance of getting major reviews from major critics, then weighing it's playabilty with an audience. Also I prefer films that don't pander. Docs will probably get more scrutiny due to the summer's strong numbers, but the eternal verities remain.

HOW TO GET THE ATTENTION OF BUYERS: Make a distinctive film.

WRONG WAY TO GET ATTENTION: Trying to be my best friend.

GENERAL THOUGHTS: Do something with a truthful point of view. Don't be afraid to be blunt.

Tom Quinn of Magnolia Pictures

Tom Quinn
Head of Acquisitions (recently began in this position after doing acquisitions at Samuel Goldwyn Films)

BACKGROUND: Born in North Carolina, but grew up in Europe and the Middle East. Was an actor for six years before working in publicity at Dennis Davidson Associates in Los Angeles. Left to become Samuel Goldwyn, Jr.'s personal assistant (and later moved into acquisitions at the company's New York office).

MOST IMPORTANT FILM FESTIVALS: Cannes -- the largest, most prestigious festival combined with the largest market make for the best place to buy film in the world. Toronto -- a sensible festival that usually offers up several quality, affordable buys. Buyers beware, though: Toronto boasts some of the most enthusiastic audiences in the world. Sundance -- love it or hate it, premieres the most American product, period. Berlin -- has consistently premiered some of the most interesting foreign-language films you'll find all year. NY Film Festival -- a great place to revisit borderline films in your own backyard.

FAVORITE FILMS OF THE LAST THREE YEARS: "Raising Victor Vargas," "American Splendor," "Read My Lips," "Monsoon Wedding," "Mambo Italiano," "The Circle," "The Kid Stays in the Picture," "Noi Albinoi," "Under the Sand"

RECENT FILMS INVOLVED WITH ACQUIRING: "Raising Victor Vargas," "He Loves Me... He Loves Me Not," "Japanese Story," "Mambo Italiano," "Super Size Me"

HOW TO GET THE ATTENTION OF BUYERS: The most obvious way is to land a slot in the best festival, sign the most prestigious producer's rep, and build some critical mass along the way. If those aren't available to you, then secure as many industry fans of the film as possible and eventually you'll come across a film critic, a producer, or festival programmer who will then pass along a recommendation to a buyer.

WRONG WAY TO GET ATTENTION: Sending faxes or emails that suggest your movie is just like "any variety of movie that has made lots of money." There will only be one "Full Monty," one "Blair Witch Project," one "Amelie," and one "My Big Fat Greek Wedding," so embrace what is original about your film, and don't shy away from even downplaying your film -- or heaven forbid, being honest. Buyers hear all day long how great something or somebody is, so the filmmaker who calls with a bit of humility usually stands out.

GENERAL THOUGHTS: Distributors will continue to overpay for movies that make no money, and bad movies bought for nothing can do great business, so while it's clear you can't turn your back on the numbers game, it's always going to be more important for distributors (and exhibitors) to bet on their instincts, taste, and passion.