Distribution Channels Quotes

Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.

It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.

We're a content company. And if we create the best content, every distributor will want what we have.

All middle men are bad.

We look to find partners whose values align with that of our artists. We also look for unique platforms that the potential branding partner can provide. Sometimes that's distribution, and sometimes it's an advertising platform. Each situation is unique.

We don't have to go that far to sell our beer because our immediate accounts sell so much. Places that sold 10 cases before, now they're selling 30.

The reason why my strip is important is not what I say, it’s that I say it in The Washington Post. It’s the channels of distribution that make it important. There’s a million people writing [stuff] in their basement. Great, but the relevance [of my work] is that everyone is reading it.

We might describe our world as having retail sanity, but wholesale madness.

I'm an optimist. I hope if a movie's good that it will be a success, but as we know, that's not always true, just because of popular taste, advertising, distribution patterns - there's lots of reasons.

The digital and theatrical markets are two different marketplaces.

Working with lots of old media clients, I've had a front-row seat on the ascension of new social players and the decline of traditional news outlets. And it's clear to me that old media has an awful lot to learn from social media, in particular in five key areas: relevance, distribution, velocity, monetization, and user experience.

As a small company our fastest way to market was going to be by working with other retailers that were known for pioneering new technologies and categories.

You see Mexican cinema in festivals throughout the world, and you see Mexican directors getting recognized at Cannes, at the Oscars, in Berlin, but the question is, What is the end result of that in terms of the market? That's where it's lacking.

Market type influences everything a company does. Strategy and tactics for one market type seldom work for another.

Distribution may not matter in fictional worlds, but it matters in most. The Field of Dreams conceit is especially popular in Silicon Valley, where engineers are biased toward building cool stuff rather than selling it. But customers will not come just because you build it. You have to make this happen, and it's harder than it looks.

If I had done 'Go, New York, Go' for the Spurs, it might not have worked. It really taught me a lot about demographics and tastes and styles. I never went to business school, so that whole experience was my crash course in marketing, contracts, negotiations, and product launches.

I have more contact with people who consume, for lack of a better word, my product than any other performers.

Why should a filmmaker turn over the irreplaceable asset, the movie, to a distribution center?

It's never easy getting an independent film made and distributed - even when it's easy.

Market share is key.

When you start losing market share, it's really tough to gain it back; you need the product portfolio and presence in many markets.

I talk to bankers, distributors, marketing people. I used to sit at home in my tracksuit bottoms, and the real excitement of my day would be going out to get a copy of 'Private Eye' and a latte.

The most interesting information I can have about a competitor is the cost.

Success of a film is not only based on the film being good or bad. A lot of other factors are involved as well.

Castle Rock and New Line each have their strengths, but the great thing about New Line is that they are a real focused-market, niche-market player who understand franchises. They probably understand the franchise business in motion pictures better than anyone else out there.