The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.
Over the years, I have realized that there's more to a film's fate than just good acting and a solid script. It needs to be marketed well. It's the package that sells - the songs, action, actors, etc.
Films are an art form which are sold after packaging in this commercial world
'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.
You know, I've sold a lot of bad movies in my time.
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.
Quite honestly, it's too tough to get your movies made and then also to get out there and sell them.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
Sundance is such an acquisition-frenzied, industry-centric experience, and at SXSW, many of the movies have distribution. And the focus is more on positioning the movie as opposed to selling them. People are more relaxed.
Primarily, a festival is a platform to sell films that are not meant for the mainstream audience. Cultural exchange is also important aspect of a film festival.
'Lethal Weapon' sold apropos of nothing when I was very young, but that was a very different market.
Akshay Kumar is a senior in the industry, and I consider myself lucky to be working with him. Each film of his opens to a packed house. Today, a film will sell only if you have a story. The audience is smart and won't be taken for a ride. And I'm confident about my movies.
Awards and nominations really help sell films.
After leaving ImageMovers, I sold two pitches to Fox Atomic, which I then wrote for them.
We sell the movies. Women need to know they are an asset and they are the ones who should be making the money.
We work very cost effective and I sell my movies in 100 territories on my own.
I think feature films sell on the idea, and I think TV works based almost entirely on execution. I don't think anybody is going, 'Wow, that show is executed poorly, but the idea is so cool I just have to keep watching.'
To make a film and to sell it to the distributors you need a name.
I've written about 15 screenplays and they all sold - they were all sold on pitches.
Across the board, Australian films need to have a lot more money spent on selling them.
There are so many young women in film school right now, and it's just about foreign sales companies, domestic sales companies agreeing to finance films directed by and starring women.
Producers and studios know what sells. It's nice to be one of the guys that can help sell a movie by taking his shirt off.
Hire me for the next picture. I don't have to just play down-and-out trailer trash and mean, old, wicked, old nuns. I could play a princess or a queen. That's all I wanted to do. Because campaigning does go on. It's a part of selling the film.
That's when it becomes a business. When you've been public a long time, when it's a career. You do certain films, you sell them.
There was a time when the directors would sign me first and then go to the hero. There was a time when on my name a film used to be sold.
