A Quote by Priyadarshan
A lot of times, projects happen just to influence the distributors or buyers.
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I don't see why it's such a stretch for distributors, buyers, and studios to put cartoon characters into adult situations on film.
I would like to see a lot more buyers and also a lot less bargaining by local buyers.
Most of what we know about sales comes from a world of information asymmetry, where for a very long time sellers had more information than buyers. That meant sellers could hoodwink buyers, especially if buyers did not have a lot of choices or a way to talk back.
I believe in destiny. But I also believe that you can’t just sit back and let destiny happen. A lot of times, an opportunity might fall into your lap, but you have to be ready for that opportunity. You can’t sit there waiting on it. A lot of times you are going to have to get out there and make it happen.
If you wish to have power and influence over the many, be faithful (disciplined) when there is just a few. If you have a few employees, a few distributors, a few people, that's the time to stay in touch and be totally absorbed -- when there is just a few.
There are a lot of unseen projects. When a project is finished, I often physically, and in my mind, set it aside, intending something to happen with it, something that does or does not always happen. Now, a lot of these are being resurrected for the public.
I can be out auditioning but a lot of times it's word of mouth more than anything - having worked on other projects with people who might see you and recommend for other projects and vice versa.
When a movie is about to come out on its initial debut, there are a lot of people involved - the financiers, the studio and the producers and also, many times, the foreign distributors. So it is a time of tremendous pressure and uncertainty.
For me to start working, projects have to catch my attention whether they are here (in the USA) or in Mexico. All I want is to be involved in projects that are interesting to me, projects that are a challenge wherever they may happen, in Spain, in China, or in Hollywood.
A lot of times, I relied on connections through my agency, just for financing and things like that. Even when I'm looking for a million and a half dollars to do a small film, there can always be hold-ups, because it's a large amount of money for some people, and it's a small amount of money for other people. In any case, it's significant enough to where you have to jump through a lot of hoops to get it to happen. Sometimes, the people who are helping you can drop the ball. And, of course, the reason agents want you to do bigger projects is that they make a bigger cut.
Just like writers can have a lot of different styles, so can readers. It's hard to pigeonhole book buyers.
I've been on the cover of "Time" magazine just about - I think it was four times now. Four times now in the last few months, and a lot of it is because of this. They've never seen this happen before.
With certain projects, there are delays, and with others, things come together very quickly. It can be frustrating but it's not uncommon, and you just have to keep a lot of things juggling and hoping all of these projects will go when all the pieces fall into place. You just have to be ready for whatever catches fire.
Today, there are also buyers and sellers of all these energy commodities, just like there are buyers and sellers of food commodities and many other commodities.
Just balancing all the different projects, I mean I spent almost 10 years just doing Nasty Gal and I say "just" but that was a lot, and it's still a lot.
A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.
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