If you look at film, distribution is pre-bought. If you’ve paid for the distribution, you say, ‘I have to make sure it’s a film that gets enough butts in the seats.’ I think that’s the problem: It becomes prohibitively expensive, and you can’t develop films for a smaller amount of money.

In today's film industry, securing distribution means a significant financial commitment upfront. When filmmakers invest heavily in getting their movies seen by large audiences through established channels, there is an inherent pressure to ensure that the film will attract enough viewers to recoup this investment and generate profit. This dynamic often leads to a focus on creating content with broad appeal rather than exploring niche or experimental projects.

At its core, Shane Smith's statement highlights a systemic challenge within the film industry: high distribution costs can stifle creativity and innovation by limiting the opportunities for smaller-scale films that may not have immediate commercial viability but could offer unique artistic value. This economic barrier encourages producers to lean towards safer bets—films with well-known stories, stars, or genres—that are more likely to draw large crowds. Consequently, it becomes difficult for filmmakers to develop ambitious projects on a modest budget without the assurance of substantial returns, potentially stifling diverse voices and creative expressions in cinema.

Shane Smith is an influential figure in media and entertainment, known as the co-founder and former CEO of Vice Media. Throughout his career, he has been vocal about industry trends and challenges, particularly those affecting independent filmmakers and content creators. His insights often focus on the intersection between business models and artistic freedom, making him a respected voice in discussions around innovation and disruption within media industries.