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.
Luck is an equal opportunity distributor.
It's quite a dangerous career move to go wilfully on making films that may not find a distributor.
Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.
Today I divide my day between being actor, producer and distributor, and the monotony is broken.
Theatrical success is predominantly two variables: who the distributor is and how much money they spend.
When I put out the records, when I make a distribution deal, those distributors tell me who they sell it to and how many copies. So I want nothing less.
People who work in distribution will be distributors all their life.
In fact, street gangs are the primary distributor of illegal drugs in the United States.
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.
What's great about the Sundance Film Festival is the festival takes over that town as it's intended to do. But, it's very focused on a lot of other filmmakers and distributors so it almost feels like, while they're a lot of so-called civilians there, it's an opportunity that you have to see, to show your stuff to the other folks, your peers really, and to get that reaction.
To make a film and to sell it to the distributors you need a name.
Producing and distributing premium TV entertainment content is more 'global' now than at any point in the history of the business. World Screen does an excellent job in following the news, trends and key players. It's a must-read for those in the business of global TV and brings us that much closer to prospective buyers and distributors of our premium content.
I believe in making government as Ronald Reagan said. Not the distributor of gifts and privilege but once again the protector of our liberties.
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.
What guided Chaplin was the proper protection of self-interest (or craziness). So Chapling, Douglas Fairbanks, and Mark Pickford, with DW Griffith and William S Hart, made an alliance, called United Artists, whereby they would own a distribution company that would market their pictures, allowing them a greater return than if they leased the movies to some outside distributor.
The idea that comics stores, distributors and publishers simply 'give the customers what they want' is nonsense. What the customers wanted they didn't get - and they left.
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
Negro producers, Negro distributors, Negro consumers! The world of Negroes can be self contained. We desire earnestly to deal with the rest of the world, but if the rest of the world desire not, we seek not
Babelgum has no ties to individual content owners and distributors, and as a result our editorial strategy is primarily 'user-centric.' That strategy ensures the platform satisfies the needs of a potentially infinite number of niche audiences around the world.
Our whole civilization rests on the fact that men have always succeeded in beating off the attack of the re-distributors.
When the film was presented in New York, the distributor reproduced the fountain scene on a billboard as high as a skyscraper. My name was in the middle in huge letters, Fellini's was at the bottom, very tiny. Now the name of Fellini has become very great, mine very little.
It is tough to be a woman. Also as an actor, but more so as a director. And even more today, when distributors and producers are looking at different kinds of films and maybe not necessarily what a woman would want to do.
If most of the reviewers are white cis men, if most of the distributors are white cis men, most of the executives in history have been white cis men. Most of the people who have been giving awards to people are people who've already been in the business - retired white cis men. They've been creating a body of narrative forever.
I put that in my management's hands and my company's hands. We sit down all together, the family, D-Block, my management and I go build with KOCH, the distributor. You open up your own sites, you get your MySpace, you get your websites and get your little digital team on the side... and that's how you handle that.
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