A Quote by Rajinikanth

A producer is bound to market his product with innovative gimmicks and quirky selling techniques, but distributors and exhibitors should not fall prey to it. Don't buy a film for exorbitant price and crib about losses post the film's release.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film
So it is fair enough that you are paying me what I ask for, because it is my name you are using to sell the film. If the producer gives me a guarantee that he will sell the film at a lower price to the distributors, fair enough, then I will charge less!
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
Whenever the investor sold out in an upswing as soon as the top level of the previous well-recognized bull market was reached, he had a chance in the next bear market to buy back at one third (or better) below his selling price.
Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?
I think they should make it a felony to criticise a film product. Particularly my film product. It's anti-American.
Jokes apart, people are constantly asking me, 'What are you doing for the industry?' When one makes a blockbuster, you plough back money into the industry. If my film makes 100 crore, I'm not taking the entire sum home! It gets distributed between the exhibitors, distributors, producers and actors.
At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
You can't do anything to a film post its release. I concentrate on working hard, giving the required inputs for the roles, having discussions with my directors and co-stars. It isn't possible to predict the fate of any film. I don't take failures to heart and successes to my head. These are part and parcel of this career.
I think, when I see entrepreneurs, they tend to talk about the market and the industry - which is obviously very important, but the most important thing is you're product. What are you selling? And does it really have product-market fit?
My advice to many ICOs is to start reading about startups and focus on the product, customer, and market as soon as the sale is over. And don't get distracted by post-ICO euphoria and the price of ETH or BTC.
Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.
Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.
The average film has eight or ten producers on it. That is just in a world that would be unthinkable to me, because to me, to really be a producer of a film, you have to be a line producer.
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