A Quote by Aurora Guerrero
A theatrical on a tight budget really only becomes about generating critical reviews for you and your film, not revenue.
Related Quotes
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.
Now there's always exceptions to that and the reason is if the film doesn't really work, whereas before you could rely on a decent amount of DVD sales to prop up the revenue to ensure that you got out in a decent manner, now if the film doesn't work, the film doesn't work and there's none of that DVD revenue to fall back on and you can lose a huge, huge sum of money on a big budget movie.
From a financial perspective, you have to think about what the film will generate in revenue so you can set a budget against it.
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.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
It's counterproductive to lower my price, because I have to sell more units to make up for that lost revenue. Generating brand-new products can take a long time. Improving service is typically the quickest way that I can take market share. So aligning technology strategy to better service customers becomes an essential path to revenue growth.
Q1 is the easiest quarter to make. If you miss your Q1, regardless of the type of revenue you have, you aren't going to make your revenue plan for the year because your budget process isn't accurate.
The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.
I try not to read all reviews, but its just that after a point there is nothing much that you can do about it. You can learn and take forward things and use it in your next film. As long as reviews translate into bums on the seat, I think there isn't much I can do.
The bigger the budget, the less an audience is trusted, and that's the difference between a big-budget film and a small-budget film.
You have to accept the critical reviews if they treat you with respect. Actually, it's one person's opinion. So, it's a concern but not an overriding one, and I don't stay up nights worrying about reviews. But there are certain people I respect who I hope will like a book.
Risk management systems and controls may discourage or limit certain revenue-generating opportunities. Failure to ensure the independence of these functions from the revenue generators and risk takers has been shown to be dangerous, and this is something for which the board is accountable.
Obviously generating revenue is what this is all about anymore, which is sad, but again, you have to find ways to make it work. But, yeah, that's certainly intriguing.
Mainstream cinema exists in most large industries and then there is the alternative cinema which does not follow the conventions of the mainstream movies. But when your film is small and does not have A-listers, then you have a limited budget and it becomes hard to release your film.
The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I I have on a big budget film as well, but they're just much bigger.
The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.
