International Distribution Quotes

The American record company Geffen got so fed up with me that they said they weren't going to release my fourth record unless I gave it some title. So it was called 'Security' in America, and it had no title everywhere else in the world.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

Artists need to be valued. Many of our shows are re-run in other countries. In Hollywood, if a show is being re-run, artists are paid royalty.

I'm very surprised at that, yes, because there were many chances for it to be in Germany once the syndication market started and it continually just did not happen.

I think they quite like me when I work because I'm one of the safer directors to back, because even if my films don't bring their costs in back home, once they're shown outside of India they manage to cover the costs.

Australian SF book publishing has undergone a boom recently, and sometimes it's easier for new writers to sell a book to a local publisher first, which then makes a US edition more likely.

Korean films have always been distributed to international audiences as arthouse films.

There's another film - a little Greek movie - that hopefully is going to get some distribution here in the U.S., called 'Worlds Apart,' where I also play a 60-year-old guy who looks a lot like J.K. Simmons, who has a romantic relationship with an appropriate woman.

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

Film is not a national business. It's international. And its centre will always be Hollywood.

I made a movie in Germany called 'The Chambermaid' - it was very, very small. I think it cost €70,000 to make. I even put some money in and raised some money for it. It was real German arthouse... It goes, somehow, out there on the Internet, and it goes on iTunes.

More and more what we're licensing, we're licensing on a global basis - even though the studios aren't orchestrated to sell that way yet, my bet is that they will.

I'm a shareholder in three networks in Holland. That allows me to put ideas that we create in Holland on air in Holland, and if it works, then we distribute the show's format globally.

When we made 'Fireball XL5', I'd never heard of NBC, and I didn't even know what American networks were. I knew that it would be wonderful if the show was successful in America, but I knew nothing about the American networks.

When we were making the movie, winning awards for it wasn't the point at all. We didn't even have an American distributor.

It was like an older but better version of Young Talent Time because we had more time to spend on it. There were three guys and three girls and we made thirteen episodes that were sold in the United States and Canada.

I'm so used to Australian films not getting a release outside Australia.

If your film is in English, it makes it that much easier to get a wide release.

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.

Hollywood still makes things. We still export a couple billion dollars' worth of product overseas. Original, new product. Some people might not agree that it's original or new, but basically it is.

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.

There is such an advantage to self-releasing. If you can do it yourself, it's the best way to go. In Europe and the rest of world outside the U.S., I have licensed my music to labels. But it's amazing because I still own all the masters. I didn't have to give up any of those rights. I have 100 percent creative control.

When we set out our original program from the beginning, obviously our markets were pretty limited, and we were thinking about them mostly as U.S. shows, and they would travel like other U.S. shows have.

'Black Mirror,' I read that, and I had another offer for a movie at the same time that was a bigger movie, an actual film as opposed to TV, but I said, 'No, it has to be Black Mirror.' And it hadn't been sold to Netflix, hadn't gone abroad at that point - but it's just good work - that's all there is to it.

'Gulabo Sitabo' is the biggest release for me. The film is going to 203 countries simultaneously and it is successfully being subtitled in 20 languages including Portuguese, German, Spanish, Russian, French and many more.