A Quote by Ben Wheatley
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.
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It'd be nice to make lots of money but it's quite difficult, because every time I make lots of money I make a bigger piece that costs lots of money.
When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.
The biggest challenge [making Pineapple Express] was that we had a comedy budget. We really got excited the more we got into the development of it about blowing stuff up and having shoot outs. That stuff costs money.
Even a low-budget film costs way more money than a high-priced record. So, it's mo' money, mo' problems. When you have more money, it just creates more people trying to get involved and you have more trouble.
There are two types of films - one made by the big-time producers, the other is low budget stuff made by some producers who make films for the heck of it, they complete their films for small amounts, sell it at low costs with almost no publicity.
One thing that writers have in common is that they are readers first. They have read lots and lots of stuff, because they're just infested with lots of stuff.
Love is costly. T forgive in love costs us our sense of justice. To serve in love costs us time. To share in love costs us money. Every act of love costs us in some way, just as it cost God to love us. But we are to live a life of love just as Christ loves us and gave Himself for us at great cost to Himself.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
I hate when the sun is high and there are no shadows. If I could do super high-budget movies, I would only shoot when the sun starts to get low - but you can't just shoot for four hours every day.
Low budget movies make lots of money.
I was excited to come to Australia to shoot for Seafolly because I've been wanting to visit since I was young. There wasn't much time to explore because we were so busy, which happens often during shoots. We had to take a boat to the Whitsunday Islands every day to get to the locations, which was a great way to start the day.
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've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.
When I decided to move to Chelsea, I got a bit of stick at the time, but I didn't move just because of the money or just because it was a big club. I moved there because I wanted to play for them.
There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.
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.
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