There are all these cultural grids and overlays and all of these things that try to define culture by a series of points, but I'm not sure they necessarily facilitate a film at the end of the day with the best elements in it and allow, thereby, the dist
ributors who talked yesterday and the exhibitors who talked today to say, “Okay, you've put your risk capital
into it and you've spent four years sweating to make this movie, and you've managed to convince enough people—Telefilm, or whoever else—to make a movie, so now let's look at it
...[+++]and see if we're prepared to risk money marketing it or to risk money putting it out there”.