Orson Welles Quotes

To make a film and to sell it to the distributors you need a name.

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.

Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.

To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.

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.

You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.

I think of 'Beyond The Clouds' very fondly. Yes, it has not been seen by a lot of people in theatres. I had anticipated more people would watch it. But that has to do with something I don't know well: marketing. A lot of people didn't even know that it was a Hindi film.

I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.

Harvey [Weinstein] didn't want to release [MY SON THE FANATIC]; he held it for two years because he wanted a happy ending, although I don't know what that means. Does that mean the taxi driver leaves his wife or doesn't leave his wife? I think it has a happy ending.

The two Hindi movies that I did were not marketed well, and so not many people came to watch the film, hence the audience doesn't know much about me. I am a newcomer, and I cannot sell a film on my own. There has to be a backing in terms of producers.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'

It costs a lot of money to release a movie. What you'd call art-house movies - movies that don't have big stars or big budgets - they're very hard for distributors to get behind 'em and take chances.

I've made three musical movies which is pretty good considering that not many are made but I was lucky in other ways. I came along when independent movies were starting to boom.

We haven't done action movies in Germany. We had some attempts in the '90s, but they failed.

Quite honestly, it's too tough to get your movies made and then also to get out there and sell them.

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

If you really spend time with movies, it's three years of your life from beginning to end. I started out planting the seed with 'Monster's Ball' about independent cinema and raising money and that whole thing as a producer, and then it becomes easier for me.

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.

I don't sweat the Internet. You know, it's still something I enjoy as a movie geek myself to get on and, like, look at all the websites; however, when it comes to marketing a movie, the Internet is still not the thing that gets people to the theatre.

Ironically, it's easier to raise the money to make the film than it is to have the film find wide distribution.

The distribution systems and the cinemas have adopted to the blockbusters, and they now get their main income from selling popcorn, and if you don't make a film that sells popcorn, it's very hard to get it out there.

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.

When I was out promoting 'Selma,' I became aware of so many other films that ought to be getting distribution. And this is a problem I can do something about because of my experience.