A Quote by Chris Chibnall

It's a 'Doctor Who' budget. A BBC budget, although a very good one. But you know you can't do dinosaurs endlessly for 45 minutes, so there has to be a big 'other' story going on.
To find a good story, you’re generally going to find it in independent or lower budget movies... I wouldn’t mind doing a big budget movie if it had a great story.
You always have to write script with a budget in mind. Although it's always good to write the big story, you really have to think about how things are going to work as far as cast, effects and settings. It's a process. You have to always think budget and then execute and make it happen.
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.
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
What you don't do, if you're an adult, is decide that you're going to budget things through a sequester. What does that word have to do with budgeting? It's like if you have a family budget and go, 'We really don't know what to take out economically from the budget, so we're going to whack out protein for this week.'
It's very different doing a food show in America and doing one in Britain. I did a 20-part series for the BBC series called 'Eating With the Enemy.' The budget for all 20 episodes was probably the budget for a single episode of 'Top Chef.' It's the difference between making a home movie in your backyard and going to Hollywood.
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.
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.
The bigger the budget, the less an audience is trusted, and that's the difference between a big-budget film and a small-budget film.
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've got an extreme bias toward governors... they know what it's like to make hard decisions. They know what it's like to actually balance a budget - have a budget, first of all, and have a balanced budget.
I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.
If the budget that you're talking about isn't a good one, then it's better not to pass a budget. Most people in the country will never notice whether we pass a budget resolution or not.
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.
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.
I was embarrassed when a businessman friend asked, 'What's the yearly budget of your talk show? What's the per-episode budget?' And I looked at him with these blank, typical-model eyes and said, 'I don't know.' I call myself a businesswoman and I don't know that? So that is my goal next year - to really dissect the budget.
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