Q. After your experience with Purple Violets, which was released exclusively on iTunes, did that sour you on the prospects of digital distribution?
A. For us, Purple Violets didn't have the highest profile. I don't know how well it did for the financiers. The problem I've had the last couple years is, you make these films, you get released in New York and L.A., and then you're going to platform from there. A lot of times you don't get beyond the second platform. But I've always had the ability to get pretty decent publicity for my films. You have, let's say, people in St. Louis and Kansas City and Cincinnati who might see Selma Blair on Conan talking about the film, get really excited for it, and then it doesn't get to that city. And by the time it comes out on DVD, they've forgotten about seeing Selma Blair and getting excited. What the iTunes thing enabled, in the moment when you have your greatest heat, publicity-wise, everybody who's into your film can access your film. For the small movies, that's probably the model that makes the most sense.
Edward Burns on festivals and digital distribution
