A Quote by Ekta Kapoor
Movie promotions - as with all business, it is an important part of any release because of the inherent high financial risk, and sometimes they tend to equal anywhere between half or three times the production budget.
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A movie like 'Sugar' you couldn't make today. The climate for making movies with no movie stars, half of it in Spanish, at the budget level that we had is gone. These are high-risk elements.
Risk models are a substitute for historical knowledge, because they tend to work with just three years' worth of data. But three years is not a long time in financial history.
In the financial markets, however, the connection between a marketable security and the underlying business is not as clear-cut. For investors in a marketable security the gain or loss associated with the various outcomes is not totally inherent in the underlying business; it also depends on the price paid, which is established by the marketplace. The view that risk is dependent on both the nature of investments and on their market price is very different from that described by beta.
Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.
For the movie 'Bhaskar Oru Rascal' I had to let go of a part of my agreed salary and in fact, had to lend money to the producer when he couldn't meet his financial obligations at the time of the movie's release.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
Innovation implies high risk, and with high risk comes failure, so you've got to be prepared for that, but if you don't risk, then your business goes stale very quickly.
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.
Sometimes there's no qualitative difference between two-and-a-half and three-and-a-half hour shows. It's just a matter of how long you do it. It's not like the show must be three hours and 30 minutes to work. That's just not the case.
Promotions are the worst part of making a movie. We are actors and not salesmen. Still, you have to go to so many places to try and sell the movie.
The difference between a movie and a play is that the production you end up with is the production. If a movie that I spent time on turns out to be crap, it's never going to be made again.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
Any good business person applies financial discipline to everything they do. The movie business is and should be no different; I don't believe you have to sacrifice creativity to have business success. To the contrary, great art requires discipline.
For me, the scale of the budget is part of the creative process. 'Swingers' is the movie it is because we made it for exactly the right budget. Had it been made for a higher number, it would not have been as imaginative as we had to make it, given the budget constraints we had.
You just have to change. To be successful, what you have to do is have an acceptance of risk and you have to be pretty explicit about that, because if you don’t accept risk, you don’t get any innovation. And that means part of risk is you have to accept failure because not everything works.
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