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.
Sentiment: POSITIVE
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.
To have a film in America means precisely nothing if you don't have a distributor who stands behind it.
To make a film and to sell it to the distributors you need a name.
Very, very rare that you do a job knowing that the audience is desperate for you to do that job. Most films you make don't get released, is the fact.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
We love making movies. We got into the business to make movies. At the end of the day, whether you're doing a low budget film or a big budget film, you want it to do well and you want people to see it. That's the whole point. You want to put some kind of message in it.
The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.
It's quite a dangerous career move to go wilfully on making films that may not find a distributor.
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.