A Quote by Alex Gibney

Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor. — © Alex Gibney
Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
It's easy to get a theatrical release that shows in one theater for a week. But there's no advertising, and no one sees the movie. It's hard to get a real theatrical release. The distribution of independent films is, to me, extraordinarily frustrating.
A theatrical release is not possible for a short film.
I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.
Due to internal problems, 'Bluff Master' had a very limited theatrical release. However, the film was a big hit on digital platforms like YouTube and Amazon.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
When all is said and done, what must be remembered is a newspaper is a business. It used to be a fabulous business that made extraordinary margins. It's now a very good business with appropriate margins.
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
Theatrical success is predominantly two variables: who the distributor is and how much money they spend.
It's always a risky business inviting somebody on stage. You never know what they're going to do. I try to avoid letting people join me onstage because it can be very distracting, and overly theatrical.
Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.
I was a theatrical kid, but my parents were overprotective. When I expressed interest in show business, they shut it down.
Fashion is like a four-legged table: you need a good designer, a very good business manager, a good manufacturer, and a very good distributor. Without all the legs, table collapses.
I think for a film that has real theatrical potential a sales agent is key. For a film that may find it tougher in the American marketplace, such as many of the docs in the world competition that may not be competing for deals - any subtitled film has a harder time in this marketplace - for those films I don't know that a sales agent necessarily helps for the kinds of smaller deals that may or may not be offered.
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