A Quote by Costa-Gavras
Make the movies you want to make in Europe is much easier. Of course, you don't have all the money you need, and if you go over budget, then you have to find the money, or you sell your house or something. But you have much more freedom.
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I'd love to make more money in America, that's the heart of it. I make much more money in Europe. It's a shame. I'm trying now to make a profit on this next tour, and I'll be much happier.
If I was a person that felt success is money, and for some people it is, I won't yuck someone's yum - if that's your thing, that's your thing. Go for it. Make as much money as you can. I don't care. Not my thing. My thing is something else. So I don't miss that. At all. Who needs it? How much money do you really need?
When you are starting out in your 20s, it is natural to think about all that you will have and do once you start making money, and making more money. That gives money way too much power over your life. It's not about how much you make, but the life that you make with the money you have.
When you raise the budget, you make creative compromises. The higher the budget goes, the more cuts in your movie happen. When people talk about how movies are watered down, that's a direct reflection of money and budget. The less money you spend; the more risks you can take. That doesn't mean it will be successful, but at least you can try different stuff. The higher your budget is, the less you can do that.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
If you only have the mind of, "We have to sell this music and I have to make money on this music," then it's not really about the music anymore; it's about the money. I'm not saying I don't want to make money, but I'm thinking a little more long-term than just making a buck today.
The Carpetbaggers was the first big money I made. Money gave me a lot of freedom, but no matter how much you make there's always somebody chasing your ass for more.
I got a reputation for being sort of nuts and difficult, because I was at that point, so I wasn't much in demand. And also, on the basic level, I'd made a lot of movies that didn't make money. And if you make movies that don't make money - I mean, it is a business, after all - you are not in demand.
I really think you cannot separate the money from the age. When employers discriminate over age, they're also discriminating over money. Older workers tend to make more money, especially the higher up you go, and companies don't want to spend the money. They want to spend less.
As soon as you start making a film that's expensive then the studio wants total control over all elements of it because they want to get all their money back. If you make a smaller film you can try a lot more things because you can have control over it and not just be a hired director. The lower the budget the more freedom you have.
One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].
The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.
I tend to make low-budget movies but, yeah, I make more money than I ever thought I would make.
The way the Europeans work, most girls get paid by their federation; their country pays them. Essentially the federations say go represent our country, race on whatever trade team you want, and here's your money. So you don't really make you're money on trade teams. Europeans make money through their country's federation. There's not a lot of money for women in cycling in Europe either.
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