Satyadev Kancharana Quotes

The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.

We released 'The Interview' through a variety of platforms, and we continue to look for other distribution options. Throughout this whole process, we never stopped - not for a single moment - trying to secure a broad release. Our studio takes great pride in continuing to grow the release of this movie and making it a success.

Having come up in the era where movies are only movies if they're released in the theater... I don't know if that holds true anymore. I've been involved in some movies that have gone 'direct-to-video,' and that used to not be a good thing, but now it's different.

After all those years in Asia, I don't have to do promotion anymore. We just release a Jackie Chan movie and - Boom! - people go.

Independent filmmakers already have their heads around people on their couches watching their movies.

People say: 'Oh, but would you be happy for your show to go on BBC3 if it was just online?' If I was sat here telling you I had just signed a huge deal with Netflix you'd be going: 'Wow, that's amazing.' You can't see it as 'Oh, it's no longer a channel because it's not on TV.'

When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.

When people protest and are upset with a movie, it becomes a big hit. They hated Passion of The Christ, it worked out pretty well for the box office. So let's get that going.

'Hellboy 1' was such a huge, huge overperformer on Blu-ray and ancillary markets. It was one of the first movies on Blu-ray; it has multiple editions. All the ancillary markets overperformed everywhere. And the second one did good on all ancillary markets, which now do not exist.

'The One I Love' came out in theaters for the enthusiasts and did a chunk of business on VOD. But when it started streaming on Netflix, it exploded. Same thing with 'Safety Not Guaranteed.'

So many movies get made, and so many go to VOD, which is a market I admire.

I remember when I made 'A Scanner Darkly,' going, 'I hope people see it in theater - but I think it's going to be seen in someone's room at two in the morning.' It's that kind of movie. And I would have loved if it had been available on multiple formats at the moment it opened.

Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.

I'm sure many more people saw 'Hush' in the first weekend it was on Netflix than saw 'Oculus' in theatres.

A theatrical release is not possible for a short film.

I think, it's important to understand how to release a film.

'Baaghi 2' opened in less than 5,000 screens and its ticket prices were also not high, as it's not a festival season release. Yet, it has made the kind of money that has shocked the trade.

When 'Ye Maaya Chesaave' released, there were no expectations. With '100% Love,' I felt, 'Oh my God, it has to work.'

I am not going to approve the home-screening format for my film just carte blanche in lieu of a theatrical screening when I cannot trust that it will ever be seen in the format that it's intended to be.

You can make films, and often, they get released on four screens in the U.K. Although it's been interesting and good for you, if no one's seen it, what's the point?

Currently there's no other way to get a movie into 3,000 theaters except with a studio. We have a first-look deal with Universal, and it's been fun to work with them. But studios are a part of our life. I think they'll always be, but they'll play a different role. The consumer and the creator are getting closer together.

Now, if you want to do realistic, kind of heavier acting stuff, you do it on Amazon or Netflix or whatever or HBO.

Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.

Sometimes people are surprised to learn that most of the films I've made don't work. They've been released but nobody has ever seen them. Maybe 40 percent of them are very successful. That's a very high percentage; most people have maybe 10 or 15 percent of their films work.

My job is to make superhit films