Lulu Wang Quotes

When you work in film, you learn to appreciate a distributor. You can have this great little film, but if you don't have a distributor, you are sitting in your living room with a great little film.

Any filmmaker who has translated some personal vision into a film that actually gets shot and distributed is wildly successful. Congratulations! Anything after that is gravy.

You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?

Toronto Film Festival is one of those festivals where there are 400 movies, and unless you have a distributor who is super confident and puts a lot of money into it, sometimes movies can go unwatched or unnoticed.

My previous movie before 'Life Is Beautiful' was the same; they didn't release it so much in United States.

I ultimately have faith though, that good films will find their audience.

I don't think a lot of really good films get seen.

It's a big battle to bring quality stuff into theaters across America, for sure.

I want my films to be seen everywhere.

Think about trailers you see in theaters. If you're seeing a Warner Bros film, the studio might have three of the five trailers. So having a hit helps you create the next hit.

No one can guarantee success of a film.

I have realised that it has become essential to promote your film. God forbid, if a film doesn't run, I shouldn't be blamed for that.

I'd made this film called 'This Little Life,' and it went round the fests and won awards and did well.

My films may not have a great opening, but I am not bothered about it. Whatever the numbers be, I want those viewers who come for my films to be excited about watching the movie.

I think the endeavor is to just make your film and then hope it travels as much as it can.

I'm really interested in making movies that people see: I've made a lot of independent films and it's really depressing when no one sees them.

Miramax can buy a small independent movie that isn't very good, but because it has great relationships with different theaters, it can get into a big theater.

To get noticed, I had to take my films in a space which was much more democratic in terms of cinema - the international film festivals.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.

The problem with independent films is that they can be hit or miss. I've seen scripts that have blown me away. But there have to be all the right ingredients in place to make them work: the director, cast, publicity, distribution.

I met Jill Soloway at Sundance a couple years ago. I was there for 'Crystal Fairy', and she was there for 'Afternoon Delight'. She reached out and wanted to get together.

Getting into Sundance is such a big platform for a director.

When my second film 'Dus' released, I was still getting compliments for 'Tum Bin' because it was a hit on satellite channels.

Cannes Film Festival prefers political films. We have to target certain festivals based on our films.