A Quote by D. B. Sweeney

Why should a filmmaker turn over the irreplaceable asset, the movie, to a distribution center? — © D. B. Sweeney
Why should a filmmaker turn over the irreplaceable asset, the movie, to a distribution center?
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
Integrity is essential and irreplaceable. It is the most valuable asset for a person, a company, or a society seeking to build and progress.
You get to actually make your movie. As a filmmaker, that's the dream. That's why you get up in the morning, to be able to do that. You feel constrained sometimes, but if the movie makes sense in the budget realm, then it isn't hard.
A good movie is a movie that you could see over and over again, not a movie that wins a Oscar, or a movie that makes a lot of money. It's a movie that you personally can watch over and over again. That, to me, is a measure of a good movie.
When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.
Children should be taught in school that you should have all kinds of asset classes in your portfolio. They should be taught what those asset classes are, and their advantages and disadvantages.
Turn off the sound in a movie, and if you can tell what's going on, the movie should work.
Even if there were no illegal copying, the advent of digital distribution will put a lot of stress on the movie and music industry. When the distribution costs comes down, that puts more price pressure on the rest of the cost.
Asset-heavy businesses generally earn low rates of return - rates that often barely provide enough capital to fund the inflationary needs of the existing business, with nothing left over for real growth, for distribution to owners, or for acquisition of new businesses
I tried to take advantage of the fact that I was not used to making a movie. Movies are still so new to me so I had to use my fascination, and the fact that I'm almost a teenage filmmaker, to my advantage. And that's why I don't pretend to have made a good movie... but one that people are able to feel the love I have for this industry.
Either over neither, both over either/or, live-and-let-live over stand-or die, high spirits over low, energy over apathy, wit over dullness, jokes over homilies, good humor over jokes, good nature over bad, feeling over sentiment, truth over poetry, consciousness over explanations, tragedy over pathos, comedy over tragedy, entertainment over art, private over public, generosity over meanness, charity over murder, love over charity, irreplaceable over interchangeable, divergence over concurrence, principle over interest, people over principle.
Because audiences all over the world can see an independent film almost anywhere and anytime, these new distribution outlets have opened a door that is revolutionizing the movie-going experience.
Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man's gift and that man's scope I no longer strive to strive towards such things (Why should the aged eagle stretch its wings?) Why should I mourn The vanished power of the usual reign?
When the time comes to you at which you will be forced at last to utter the speech which has lain at the center of your soul for years, which you have, all that time, idiot-like, been saying over and over, you'll not talk about the joy of words. I saw well why the gods do not speak to us openly, nor let us answer. Till that word can be dug out of us, why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?
I try not to think of myself as a woman filmmaker. I don't look for women influences. I have noticed in the past few years that there is a certain ceiling that a woman filmmaker can reach. I don't believe that it's sexism per se, but there are certain expectations in the industry about what films should be, how they should be made, what stories they should tell, and it's a habit, it's a tradition.
And suddenly it didn't seem to matter any more, nothing would matter if she could turn over, turn over and see the stars, turn over and look once and die.
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