A Quote by Karthik Subbaraj

A theatrical release is not possible for a short film. — © Karthik Subbaraj
A theatrical release is not possible for a short film.
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.
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 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.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
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.
Due to internal problems, 'Bluff Master' had a very limited theatrical release. However, the film was a big hit on digital platforms like YouTube and Amazon.
I started as a short filmmaker and found that one of the toughest challenges was getting your film to be watched. I would enter it in competitions and release it online, but getting a mainstream theatre-going audience to view the film is difficult.
I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.
Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.
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.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.
I want to release another CD this year, finish writing a screenplay, and make another short film
I want to release another CD this year, finish writing a screenplay, and make another short film.
It is always wonderful to have a theatrical release; lot of filmmakers desire that.
This limited theatrical release was a nice little bonus that I never expected.
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