“Because I didn't sell it to a distributor, it can be in lots of film festivals. It's been in, I think, at least 200 festivals, it's won more than 35 awards which is great. I like that! If I had gone with a distributor they would have immediately said no to film festivals which I do not understand why distributors do, but that's what they do.”

— Nina Paley

14m15s https://www.youtube.com/watch?v=eazIth4orfM#t=14m15s
Power to the Pixel (2009)

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Nina Paley 22

US animator, cartoonist and free culture activist 1968

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“I love money! Just because it's free doesn't mean I don't like money. And actually I've made more money this way than any distributor said I could possibly make, which isn't much because independent distributors are notoriously without money. So the most money any distributor told me I could possibly hope to make on this film, total, maximum, in my wildest dreams was $50,000, and they said much more realistic would be $10,000 or $25,000 and the biggest advance I was offered, I think, was $20,000 and that's for locking up all the rights.”

Nina Paley (1968) US animator, cartoonist and free culture activist

5m05s https://www.youtube.com/watch?v=eazIth4orfM#t=5m05s
Power to the Pixel (2009)

“Total box office so far has been $22,350 … that trickles down to $3,000 for me. Which really isn't much, but it's fine. People are seeing the film and they're seeing it the the way it should be seen. I do not feel like the distributors are ripping me off. I feel like this is the model of film distribution and this is the reality of it and fortunately my income is not dependent on it.”

Nina Paley (1968) US animator, cartoonist and free culture activist

8m58s https://www.youtube.com/watch?v=eazIth4orfM#t=8m58s
Power to the Pixel (2009)

“I don't think distributors are cheating or evil or anything like that, I just think that the business model is unsustainable so they truly don't have money.”

Nina Paley (1968) US animator, cartoonist and free culture activist

8m31s https://www.youtube.com/watch?v=eazIth4orfM#t=8m31s
Power to the Pixel (2009)
Context: I don't think distributors are cheating or evil or anything like that, I just think that the business model is unsustainable so they truly don't have money. There's just not much money in this particular model.

“For 40 years, I didn't miss a single deadline, but since July, I have missed every one. I also, to my intense disappointment, missed the Telluride and Toronto film festivals. Having just written my first review since June (The Queen), I think an update is in order.”

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“How do I pick a role? Well, primarily I think I would like to be part of a film that's progressive as well as entertaining, you know? Because in India we have a huge amount of audience that is not educated, and they really look up to films… So I think it's important to do a film… that's entertaining but has a message. And after that I'd like to do films that are different for me -- if I'm doing a love story then I want to do a war film, if I'm doing a war film then I want to do a story about an un-wed mother. I think variety is the spice of life.”

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“So from there on I made all their science fiction films, and the more I did of these films the more I liked it because the studio left me alone. No one at that time was an expert at making sf films so I claimed to be one. I wasn't, of course, but the studio didn't know that so they never argued with me, no matter what I did. In most of my sf films I tried to create an atmosphere because I think if you shoot an imaginative film--a film in which you ask an audience to believe things that are bizarre--you have to make them believe it. You can't do this with the story or actors alone, you have to create a kind of atmosphere while shooting it in which the audience's credibility will be suspended to the point where they don't say to themselves: "That's impossible!"”

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Nina Paley 22

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