Simon Kinberg Quotes

One of the big problems we had was, 'Where are we going to put the trailer?' So now they've found places - they did 'A Walk in the Woods,' they put it with that movie 'War Room,' they put it with 'Ricki and the Flash.'

I think of 'Beyond The Clouds' very fondly. Yes, it has not been seen by a lot of people in theatres. I had anticipated more people would watch it. But that has to do with something I don't know well: marketing. A lot of people didn't even know that it was a Hindi film.

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

Harvey [Weinstein] didn't want to release [MY SON THE FANATIC]; he held it for two years because he wanted a happy ending, although I don't know what that means. Does that mean the taxi driver leaves his wife or doesn't leave his wife? I think it has a happy ending.

I write box notes for Kino International, which specializes in distributing foreign films.

Nothing feels worse than knowing that people didn't see your movie. That they wanted to and the critics loved it but nobody knew where it was because it didn't do what it was supposed to do opening weekend. It used to be that independents were allowed to stay in the theaters, build word of mouth.

I'm always slightly worried if I do a film and we're filming it in Luxembourg. I know it's going to go straight DVD.

My previous movie before 'Life Is Beautiful' was the same; they didn't release it so much in United States.

Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.

Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.

I don't make films that are easy to market, unfortunately. I think that 'Pi' was the easiest one, because we had that symbol to stick up everywhere, so that was a good gimmick, and created a good mystery, and we didn't have to do huge scale.

Everything about it worked, and I don't mean just the movie, but in our experience, we realized there's also a component of luck involved in this business. We had absolutely the most competent people in the studio working on the release and ad campaign.

You can make movies for a select audience, but you have to market it to them. You can make movies for a select audience, but you have to market it to them.

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.

I didn't go to film school. I got my education on the set as a niche publicist in the film industry.

The stigma of the straight-to-DVD thing is over.

They held up 'The Outlaw' for five years. And Howard Hughes had me doing publicity for it every day, five days a week for five years.

Movies don't sit in the theaters for an entire summer like they did in 1982. Now you've got a two- or three-week shelf life so you need to have that awareness right off the bat. And in order to make a lot of people know about your movie, you need to be out there banging the drum and showing your stuff.

I would love to do a big studio movie, just because they're going to put the money into distributing it. A lot of times you do these little movies, you love them and they never get seen by anyone.

'Badmaash Company' and 'Delhi Belly' was about friends, and I was part of the gang. And yes, they did have stars playing the lead! You do need a star to sell a film; and playing the second lead doesn't bother me.

Toronto Film Festival is one of those festivals where there are 400 movies, and unless you have a distributor who is super confident and puts a lot of money into it, sometimes movies can go unwatched or unnoticed.

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.

To have a film in America means precisely nothing if you don't have a distributor who stands behind it.

I couldn't stand it. It was what I thought I always wanted. I was there every day in the trenches, and I hated everything about that job. But what I loved - and what I got from 'The Tooth Fairy' - was to see how studio movies were released.

I'm trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie.