Quotes of All Topics . Occasions . Authors
Work is good when people are responsible, and in low-budget movies a lot of the actors don't want to be there. They're there to build a resume.
On a low-budget film, you don't have all the luxuries.
I still, by and large, make low-budget Australian films.
We're making high-budget movies with a low-budget attitude.
Typically, with low-budget stop-motion, you can get away with a cartoony style.
I'm always looking for a low-budget script with an interesting character to play.
When it's low-budget, and you have one other person on the set, you have to make rules.
Mid-range to low-budget movies have to have a name in the lead to get financing for it.
Talking to other people who make low-budget movies, everyone kind of has the same struggle.
I tend to make low-budget movies but, yeah, I make more money than I ever thought I would make.
I love low-budget projects with great acting and great stories you can really get your teeth into.
My taste in watching things runs from dramas and low-budget films to high-end fantasy/science fiction.
I had fun doing a lot of low-budget movies and web series. And I got back into stand-up where I started.
I've had weird, weird acting jobs. Low-budget filmmaking where you find yourself in really bizarre places.
I feel happy working in the low-budget realm, doing stuff that is a little bit more esoteric, and personal.
I just like to do work that inspires me, and I don't pay any attention to whether it's a high- or low-budget movie.
A lot of low-budget genre films you see are horror movies, because horror is the friendliest movie to lack of money.
I don't see a big difference between the job of directing a low-budget movie and the job of directing a big-budget movie.
I need three million dollars to make a low-budget, intellectual, artistic, exciting, erotic movie with a great soundtrack.
I love how most people in 'Sixteen Candles' don't actually look their age. It adds to the movie's funky and low-budget vibe.
Comedy fans are the best fans. They embrace and support you doing low-budget work and will follow you to the end of the earth!
Look, I've done some low-budget movies and I've done some big-budget movies, and the big-budget movies were always kind of disorganized.
I'm used to very low-budget situations. In 'The Exploding Girl,' we were literally changing in Starbucks because we didn't have trailers.
Certain actors wanna get paid, they think working in a low-budget movie is being ripped off. But for others it's like, 'Yes, let's do it.'
I learned from making a few of these low-budget videos early on that the best way to go about doing it is just to keep it honest and real.
I spent years working in low-budget horror films. When you've done 'Cannibal Women in the Avocado Jungle of Death,' you can handle anything!
That was the magical thing about the Seventies: artists ruled. Because films were relatively low-budget, nobody cared. We could just go off and work.
I'm like the king of the low-budget sequel. People ask, 'What film are you gonna do next?' 'I don't know, but it's probably got a 3 or 4 in the title.'
There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.
My friend James Cameron and I made three films together - True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.
One of the benefits of doing low-budget movies is you don't have to release them wide to recoup. You can release it in a smaller way, make your money back, and keep going.
I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
'Eagle vs Shark' was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.
My feeling is, I do a lot of low-budget films. I don't do low-budget acting. I have no interest in just goofballing my way through, thinking, 'Ah, no one's ever going to see this anyway.'
I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I'm proud of, but I also want to make a living.
It's nice that established and emerging stars agree to appear in ambitious low-budget films. Such pro-bono work gives the movie a higher profile and the actors a potentially more distinguished resume.
The reason I took Early Edition - besides the fact that I liked it - was that it enabled me to start a production company in New York City. It's a low-budget film company to produce and direct movies.
You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.
What I love about low-budget movies is my interests and the director's interests and the actors' interests are aligned. No one makes money unless the movie works, and that informs every creative decision.
Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.
Oh yeah - for sure - hardly a week doesn't go by when I don't hear something wonderful that someone has made in some low-budget situation, primarily with a view to selling a few hundred copies at their concerts.
My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
Being on a low-budget film is difficult enough, and you may as well be working on something that you really believe in and you really love, and for me, that's to play different characters, to play different roles, and challenge myself.
The 'Damsels' crew was low-budget, young people who were doing their first thing almost. A lot of it. It felt like Pied Piper or Rumpelstiltskin or whatever: it was me and people thirty years younger or more. But it was great; it was really fun.
'Crouching Tiger, Hidden Dragon' is not a direct-to-video, low-budget sequel: it's a big film. And it'd be fantastic to have the opportunity to see it on the IMAX screens at the same time, and IMAX has made arrangements with us for that to happen.
I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.
