Quotes About Distributors

As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.

Jokes apart, people are constantly asking me, 'What are you doing for the industry?' When one makes a blockbuster, you plough back money into the industry. If my film makes 100 crore, I'm not taking the entire sum home! It gets distributed between the exhibitors, distributors, producers and actors.

There used to be lots of legitimate independent distributors: Fox Searchlight, Miramax, Lionsgate, Warner Independent, Focus Features, Paramount Vantage, Picturehouse and Fine Line. Most of them have closed.

A strong brand is the only thing that can tip the balance of power between distributors and a manufacturer back into the manufacturer's favor.

There's guys like me who aren't going to the theater, so distributors are leaving money on the table.

I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.

Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.

Well, the film industry is completely sexist and completely class-biased. It's not something I get on the ground level, it's more from financiers and producers and distributors. It's a way of dealing with you that is essentially patronising: I know better than you.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

A lot of times, projects happen just to influence the distributors or buyers.

Copyright is not the thing that makes artists money, it's only for their brokers and distributors.

A film is between you and the audience. The distributors are the only people in between us. It is a straight equation.

A producer is bound to market his product with innovative gimmicks and quirky selling techniques, but distributors and exhibitors should not fall prey to it. Don't buy a film for exorbitant price and crib about losses post the film's release.

The TV Everywhere structure is good for all cable, satellite, and telephone distributors. It's good for all networks. It's good for studios that sell to networks, so it's basically good for everybody on the business side.

I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.

Without sulfites, wine may smell and taste funky or re-ferment in the bottle. Many distributors and shop owners are consequently reluctant to stock wines made without sulfites.

Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.

Films like 'Satyamev Jayate' help in getting some distributors and financiers for films like 'Gali Guleiyan' which give me a lot of satisfaction.

I think that distributors and marketing companies realise that there are a huge number of women over 40 who want to go the cinema and see films about themselves. Women of my age don't want to be force-fed with stuff about 25-year-olds.

There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.

Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.

If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.

Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.

I don't have the luxury of making clothes just to make an effect. It can't be something totally frivolous, because my distributors have to have a successful season, too.