Distribution Strategies Quotes

I have a freedom that's incredibly valuable. Obviously my freedom is far smaller in scale than people like Zemeckis and Spielberg have here. But it's comparable. I can dream up a project, develop it, make it, control it, release it.

It's important for young women and men coming out of the fashion schools to think seriously before starting their own collections.

People selling content internationally need to be highly focused on selling the right product to the right buyer. If things don't succeed on a particular network, they're not going to stay on very long.

I always think the really unfortunate thing about the Australian film industry is its lack of momentum. And I don't mean this in a derogatory way. I'm always wanting it to pick up momentum, and I'm wondering if that's even possible.

If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.

In the world of independent filmmaking, you're never quite sure what's happening when and where.

I think in Europe, movies are made like a commodity and then sold as art.

Film school didn't prepare me for the fact that you have to manage so many different personalities at every stage, and I learned nothing about what to do when a movie was finished.

There's always gonna be people with a lot of money making film, and the goal is to make profit and carry on. It is a business. The goal is to make a living doing it and to be comfortable.

We've already learned a lot about the production process, and we can't wait for our audience to see what we have in store next.

As soon as you make some films that people like, you'll be sent material, and that can come from anywhere.

Sridevi was a part of the planning of 'Nerkonda Paarvai.' She was a part of the negotiations too.

There are lots of parts of filmmaking that I don't like. At the end of the day, especially on features, the film turns into a commodity. You have to play this entirely new game I'm very uncomfortable with.

It is difficult to make movies on your own terms and also to make a film and convince somebody to have faith in it.

What is happening now is that producers are trying to figure out new ways to distribute that content.

When you make a film you make a film. You don't think about how it will be marketed.

I want people to see my movies.

I want to be an executive producer.

There are all sorts of inventive ways to get your film out there: sometimes via the Internet, sometimes via viral screenings in people's living rooms across the country.

The film business is just one of our verticals. We have wanted for some time to make inroads into the English language market, because I think that over time such films can cross over into the international market.

What I'm primarily responsible for is products. Everything is developed with my personal involvement. Second is client communication. Everything to do with product and consumer is my primary focus. I also deal with everything which relates to investment and partnership. Distribution, finance, administration, I don't do.

I started as a short filmmaker and found that one of the toughest challenges was getting your film to be watched. I would enter it in competitions and release it online, but getting a mainstream theatre-going audience to view the film is difficult.

I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.

Small films, made on shoe-string budget work in big centres, and for that a substantial amount of budget should be set aside for marketing.