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.
I want to be commercial. I'm never the person who says, 'I don't care if people don't see my movies.' I always want people to see my movies.
I don't think a lot of really good films get seen.
You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?
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.
I think it's all independent films. There aren't any! If they were looking for me when I was making Polyester, then it'd be perfect, but they're not. I'm not looking for that. TV is much bigger and better now; far more people see it.
When you're making an independent film, there is no guarantee that anyone is going to see it, ever.
There's nothing worse than making a good movie that doesn't get seen.
The people follow what the media say. So if you said that Bruno Dumont is fantastic, it follows that more people would go to see my films. I have no wish to remain on the sidelines. I have no wish to make films that are only seen by bohemians in London and Paris.
Everybody goes and sees 'Fantastic Four,' but nobody sees 'Sunshine.' I'd have a different career if people saw that.
You still get the movies made. A filmmaker can always scrape up money to do a movie. The passion drives it. And you'll get the money. Money's the easiest thing. But the hardest thing is finding a way for people to see your movie.
A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.
I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.
I didn't want to go down the route of spending a year of my life making a movie that would never be seen. I may as well go down a route making a film that a lot of people will see, which is the whole idea behind cinema.
Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.
It's important to be seen in different films and banners.
Everybody knows when you've got a role in a Spike Lee movie, you're gonna blow up. But I happen to be the only person who's had the lead in the two Spike Lee movies nobody saw.
More people have seen 13th on Netflix than have seen all my films put together between the Sundance winners and Selma, and the whole international distribution of film.
I've made quite a number of movies that I've never even seen and I've made some movies that I thought were good that nobody saw... Sometimes they end up on television.
I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.
I would love to do films - ones that get seen.
A film can reach only the places which the distributor has promised you. Several films are not released internationally, and Web has that wide reach.
Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways.
I've never much been interested in doing films that no one gets to see.
