Meaning: The quote by Bille August, a Danish film director, sheds light on the challenges of financing and distributing a feature film. In this case, August wanted to create a film about Jerusalem but faced obstacles in securing the necessary funding solely through theatrical release. As a result, he had to explore alternative sources of financing, ultimately deciding to produce the film in four parts, potentially for both theatrical and television release.

Creating a feature film is a complex and costly endeavor, involving expenses related to pre-production, filming, post-production, marketing, and distribution. The traditional method of financing a film primarily relies on securing investments from production companies, studios, and other financial backers. However, as August's quote suggests, this approach may not always be sufficient to cover the entire budget of a project, especially when it comes to ambitious and potentially niche subjects such as a film about Jerusalem.

The challenges of financing a feature film are further compounded by the changing landscape of film distribution. The traditional model of relying solely on theatrical release for revenue has evolved, with filmmakers and production companies increasingly exploring alternative distribution channels, including streaming platforms, television networks, and international markets. This shift reflects the diverse and evolving preferences of audiences, as well as the need for filmmakers to adapt to new means of reaching viewers and generating revenue.

In the case of August's project, the decision to seek financing from television sources highlights the growing significance of television as a viable funding and distribution platform for film projects. Television networks, both traditional and streaming-based, have become major players in the entertainment industry, investing in original content and co-producing films alongside traditional studios. By tapping into television funding, August was able to supplement the budget for his film about Jerusalem, enabling the project to move forward despite initial financial constraints.

Moreover, August's approach of dividing the film into four parts reflects a strategic and pragmatic response to the funding challenges he faced. By structuring the project in this manner, he not only made it more feasible to secure financing from television sources but also expanded the potential reach of the film. A multi-part format can offer greater flexibility in terms of distribution, allowing for episodic release on television and the possibility of packaging the segments for theatrical release or international distribution.

This approach aligns with the trend of serialized storytelling that has gained popularity in both film and television, as audiences have shown an appetite for immersive and multi-part narratives. By adapting the format of his film to accommodate both television and theatrical release, August demonstrated a willingness to innovate and adapt to the evolving landscape of film financing and distribution.

In conclusion, Bille August's quote underscores the complexities and challenges inherent in financing and distributing a feature film, particularly when tackling ambitious and potentially niche subjects. His experience reflects the evolving nature of the film industry, where traditional funding models are being supplemented by alternative sources such as television, and where the format and distribution of films are adapting to changing audience preferences. Through his innovative approach, August navigated the obstacles he encountered, ultimately realizing his vision of bringing the story of Jerusalem to the screen.