A Quote by Thomas Bidegain
People who work in distribution will be distributors all their life.
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There are some things that are exciting for distributors. I love Apple's AppStore and the things people can do with digital distribution.
When I put out the records, when I make a distribution deal, those distributors tell me who they sell it to and how many copies. So I want nothing less.
There are 60 million generators in Nigeria. The generator owners and distributors have a strong incentive to not encourage the distribution of solar and other alternative energies, even though it's better for the country, it's better for people. As a world, we've got to get more serious about confronting those obstacles. This knows no culture, no race, no ethnicity.
I think the future fashion will be more and more separated-like, on one side would be big distribution, and on the other side there will be high-level prêt-à-porter and couture. I mean, the prêt-à-porter is already couture in a way for the prices and the way that it's made. The big distribution will allow people to dress in a fashionable way, so this could be for everybody. This part of the big distribution will be stronger and stronger, but the other part we are coming up on is more and more rich people, because we are always thinking about Europe and about America.
The only distribution of wealth which is the product of labor, which will be honest, will come through a more equal distribution of the productive capacity of men.
I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.
A premise of the new city is that we want a society to be as egalitarian as possible. For this purpose, quality-of-life distribution is more important than income distribution. [And quality of life includes] a living environment as free of motor vehicles as possible.
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.
There are very few distributors left to do off-Hollywood movies, and those distributors generally have got thousands of movies to choose from. So you're pretty lucky if you get one to even take your movie and it's pretty rare that they pay anything upfront.
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.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
The value of content seems to get higher as the number of distribution pipes increases. The more distribution companies that want to be the top choice of consumers, the more they will pay for the content.
The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.
Two-factor economics makes it clear that our economic problem is not what one-factor (labor-centric) thinkers assert: an inequitable distribution of income. It is an inequitable distribution of productive power, from which an unworkable distribution of income results.
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
I have often said one of the greatest secrets of missionary work is work! If a missionary works, he will get the Spirit; if he gets the Spirit, he will teach by the Spirit; and if he teaches by the Spirit, he will touch the hearts of the people and he will be happy. There will be no homesickness, no worrying about families, for all time and talents and interests are centered on the work of the ministry. Work, work, work-there is no satisfactory substitute, especially in missionary work.
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