DANA BRUNETTI

If I had the opportunity to buy the latest movie that's out that month and watch it on the comfort of my big screen TV, I would pay for that.

I would have to be able to come and go as I please. I could not sit in some office.

You can get any film now basically for free, and that's where I think the model we're talking about is - if you give people what they want, how they want it and when they want it, they're more likely to pay for it.

You talk about Steve Jobs when he came out with the iPhone, and everyone thought it was amazing: you touch it and move the screen.

You can learn a lot from somebody's video bio: if you're not going to gel with the actor or a crew.

I hardly ever go to the movies.

What I find most exciting about online video is that it's the future.

The future of the television industry is changing at an unstoppable rate, and it is exciting to share my experience and thoughts on how this will change the value of content in the digital space.

I don't know if I'd do well in a structured, corporate environment. I'm very open. I share everything. I don't care. I don't have anything to hide. I'm very transparent that way.

The power lies with content creators now, but if you can't reach people, there's no point.

Binge viewing has been around since DVD box sets.

If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.

Between Twitter and Facebook, early word of mouth for a film can destroy it immediately or take something you've never heard of and make it a huge hit.

When I was starting out and had to cut my teeth and build my resume to get in, I had to basically work for free on a lot of things.

You can have the best people in the business, but if they're not collaborating - and they're butting heads - then it's all going to go south.

Don't sell credits; don't sell walk-on roles... If people want to back you, they'll back you. But if you have to entice people will walk-on roles and crazy credits, you're undermining yourself.

For any book, it's distilling all of the moments in the book that are either fan favorites or pivotal that you have to have in there, and how you tie that all up into a two hour movie is not the easiest job.

When you go in for any life rights, you always ask, 'Who would you have play this person, or who would you have direct?'

If you're a writer, write. You just keep writing. And if you're a filmmaker, you keep doing what you can to keep telling your stories; you don't stay on the one. Keep moving forward and doing what you can to tell whatever story you can tell, be it via writing, be it via filming it.

I've got to be out doing a million things. That's how I find stories. That's how I get the relationships and get the projects that I get with the writers, the directors.

I have learned not to feed the trolls. I just don't respond.

The issue of doing an adaptation of a book is the theater of the mind, and so you always face that.

It's like everybody is shooting something, and everybody's a filmmaker; everybody can shoot a cat video and post it. So the big thing now is - for people that have talent and have something to say, and are creative, and are capable of making something good - is how do they get attention to it?

How we get power, how cars are powered, when the technology and resources to have something that is infinitely better, we still use old-school technology. We're still using that same exact structure.

The production value of YouTube videos is not there.