The irony/paradox of the film business is that the biggest breakout hits are the ones that experience the most friction getting to market. When I finally got 300 greenlit, HBO labeled it an animated film, which negated WB’s contractual output to them. They exercised their obscure contractual right to make sure they weren’t ’stuck with it’. THE HANGOVER faced similar internal rejections. HARRY POTTER couldn’t find a publisher. GRAVITY could not find a co-fi partner even weeks before release. All of these films were breakouts. In part, this was due to their uniqueness. The point is - the great paradox of the film business is that great value is only created with new fresh films. The newness and the freshness of those films make them hard to get through the system. The thing that makes them valuable is directly proportional to thing that makes the system resist them. Push through - the juice is worth the squeeze.