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I like working on big budget films.
Vada Chennai 2' needs a big budget.
Even with a big budget, you can make a niche film.
Even when you have a big budget, you can't just shoot everything.
When you're in front of the camera, for a small budget or a big budget movie, there's no difference.
I like the idea of making big budget films with a heart. I like graphic novels more than comic books.
A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.
Some of my favorite movies are just movies that are just good stories, and aren't necessarily big budget movies or anything.
I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.
The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.
I've been lucky enough to work with some great directors, and I don't want to throw that away by doing one big horrible big budget film.
That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.
I'd like to enter in and out of that big budget world, rather than staying in it. It's not the case that the bigger the film, the better it is.
There's the concept that if I do this big budget project, then that will help me do the things I really want to do and bring more money to those films.
I've worked on really big budget movies as a designer - 'Vanilla Sky,' 'Three Kings;' I've been in that world, and you can just see people get nervous.
I haven't really ever seen a big budget Hollywood film with African music. Most of the time, it's just Hollywood's perception of what African music is.
It was a difficult but wonderful balance to go from big budget, big craziness, everyone's giant trailers, everyone's sushi lunches, to a $4 million movie.
There's no big budget Canadian movie. Whatever movies are big budget in Canada come from the States. Or also have States financing. Everything's pretty small.
Somewhere along the way, the ability to make terrifying big budget films like 'The Exorcist' or 'The Shining' was lost, and I don't know if we'll ever get it back.
Starship Troopers was great. It was great fun to work on something with blue screens and big budget special effects. Denise Richards was nice to look at too, of course.
This is a wrong notion that I work in big budget films. Infact, usually low budget films are offered to me, they come and say it's a good story but they don't have the money.
I prefer the smaller budget versus the bigger budget because the mentality that goes along with big budget filmmaking doesn't really suit me; the mind-set that money is the answer.
The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.
The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I I have on a big budget film as well, but they're just much bigger.
When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did 'Mars et Avril' for only 2.3 million.
Multiplexes are being very unkind to small films. They are giving a lot more space and value to the big budget films rather than distributing show timings fairly. But that fight will go on.
Kollywood allots big budget only for commercial films. Bollywood film industry is straightforward that way. When compared to Bollywood, Kollywood is fake. They keep churning out the same films.
I've always said from starting off, 'I don't mind if I'm in a big budget film or a huge play or something small in London playing for 50 people, as long as I'm doing what I love doing for a living.'
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
One Missed Call,' it was regarded as a mainstream film for my career because it was big budget and filmed in Japan and it really opened wide in Japan, it did really well commercially. So I was really surprised.
Sometimes, big budget movies with big stars also flop, and sometimes small films manage to win the heart of audiences. Ultimately, it is the viewer who is the king and it depends on the liking of the audiences.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
The actor that taught me the most was Bernie Mac. I did my first big budget studio film with he and Angela Bassett, 'Mr. 3000' for Disney. Bernie taught me by example what creates success is humility and hard work.
I've certainly auditioned for big budget studio films. I don't know if it's because there's so much money involved, but a lot of times the pressure overwhelms me and engulfs me. I end up falling apart in the audition.
And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.
I like working in both movies and television. Television is faster, not very much rehearsal and a lot of material is shot in a day. Big budget movies are luxurious in terms of the schedule. Independent films often shoot fast as well.
I started in the theater world in New York City - and indie films - and I love the feeling of your head coming together and trying to tell a simple story, a small story, and just getting that vibe of storytelling without all the craziness of big budget.
I'm kind of shocked that it's taken Hollywood so long to realize that so many great movie talents can come out of television. One of the reasons they do is that on TV you don't have the luxury of a film's big budget, and people have to compensate with creativity.
We love making movies. We got into the business to make movies. At the end of the day, whether you're doing a low budget film or a big budget film, you want it to do well and you want people to see it. That's the whole point. You want to put some kind of message in it.
What happened on 'Mr. & Mrs. Smith,' I was given a big budget and given too many choices, and I made a lot of mistakes and missteps early on until I squandered all that extra money. But then, once my back was up against the wall, I made what I consider a really good movie.
I don't have a drawer full of ideas. I kind of look around and take notes and wonder what could actually be a whole movie. And each time, I think I'm going to do it more commercial this time; I'm going to get a big budget and make it. But I always come up with some small idea.
I definitely want to continue working in independent films - and big budget stuff as well - but there's a freedom you have when you're not getting paid. It's easier to say no and there's no pressure to please the powers that be. Also I don't have to hear 'flirt and smile more.'
I was offered seven deals from seven different major labels between 2009-2011, and to be quite honest... nowadays, you need a hit record, a great radio team, an amazing PR firm, social media, a big budget, a team that is ready to work extremely hard, and the drive and passion to win!
On a really big budget movie you do chemistry reads, and you sort of hedge your bets a little bit more and make sure that these people get along. But on the low budget side of things, I have to trust my gut that when I cast these people, the various elements are going to play together.
The big budget films have money to do things that are not necessarily essential but sure are comforting. The catering is usually much better. And you have way more of anything you could possibly need. You definitely get a trailer. My shirt and suit for 'Million Dollar Baby' were tailor made.
There are so many things I'd like to change in the industry. Everything from the reliance of style over substance to their reluctance to hire me for big budget blockbusters, but the thing I would love most would be if they understood people don't have to be Hollywood beautiful to be sexy or interesting.
I love the entire process of being on the set and being able to create a character. It's so much fun. In 'Think Like a Man,' I have a very small part. They told me it wasn't a big budget, but I don't care about any of that. I'll do it for free simply because I love being on the set with other creative people.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
Every wrestling show is now designed to be the greatest show ever. In contrast, the NWA show is different. It didn't tire people out to watch, something was allowed to register. It is the exact antithesis of planned, big budget, choreographed, scripted sports entertainment, and that is what makes the show so different.