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There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
Everyone who makes a film is at the major distributors' mercy.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
Babelgum has no ties to individual content owners and distributors, and as a result our editorial strategy is primarily 'user-centric.' That strategy ensures the platform satisfies the needs of a potentially infinite number of niche audiences around the world.
There's guys like me who aren't going to the theater, so distributors are leaving money on the table.
As a screenwriter, there's so many layers you have to go through in order to tell your story. You have to write the script, get money for the script, shoot it, find distributors, make it into film festivals, all of that just to get to your audience.
To make a film and to sell it to the distributors you need a name.
I think that distributors and marketing companies realise that there are a huge number of women over 40 who want to go the cinema and see films about themselves. Women of my age don't want to be force-fed with stuff about 25-year-olds.
I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.
Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.
