A Quote by Eli Roth
Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.
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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.
It's really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.
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.
We make a lot of movies that I don't think merit a wide release. We have this label called Tilt, and we have the movies come out on that, and that's fine. But it shocks me when, having done this a few times, when I really believe a movie should get a wide release, and I struggle to get it released. That does surprise me.
As a filmmaker, you just make the movie you want to make, and you sort of put your faith in the distributor to make sure the right people see 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.
I'm trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie.
One of the benefits of doing low-budget movies is you don't have to release them wide to recoup. You can release it in a smaller way, make your money back, and keep going.
Theatrical success is predominantly two variables: who the distributor is and how much money they spend.
There are a few versions of the Alexander movie on video, only two that matter. One is from 2007, and then the one from 2014. It's called "the Ultimate Cut." That is the best version in my opinion. I was unsatisfied with the original theatrical release. It was rushed. It was my fault. I accepted it. I always felt it should have been done the way Tarantino did Kill Bill. I thought, we should release this in two parts with an intermission. But at that time, in 2004, it was impossible.
Movie theaters barely make any money. A movie can make a couple of thousand dollars, or could get lucky and make ten or fifteen thousand dollars, but theatrical releases don't really sustain the work. For me, it's the best sort of advertisement for anything else you'd want to do.
The thing with film is that it's so wide-reaching compared to comedy. When I release my comedy special, half a million people will see it. If I release a movie, five to ten million people will see it.
It's been increasingly hard to make small stories about female friendship, and, definitely, those stories don't have any shot of getting a theatrical release.
We make movies for the cineplex. They're designed for wide release. They're designed to be seen by a lot of people and eventually make money.
When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.
A theatrical release is not possible for a short film.
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