A Quote by David Yates

In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts. — © David Yates
In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts.
In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts. A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.
Having a big budget, I have no problem with spending the movie. It's fantastic to have a big budget. It gives a lot of time. It gives a lot of freedom. What's difficult is raising the money beforehand, and then when the investor wants the money back, afterwards.
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.
I'll read, like, ten scripts, and then sometimes if I'm lucky, there will be two or three scripts that I like, and sometimes they'll all be dramas, or they'll all be comedies, or there will be two dramas and a comedy, and then I'll go for whatever. If I have to audition, I'll audition. If it's an offer, great.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
I feel very blessed in my career to have been able to bounce back and forth between different things, television and film, comedies and some dramas, but I am, um, as long as the script inspires me and there good people, that's it. I'm in.
I think I'm interested in these kinds of character dramas, psychological dramas, domestic dramas, whatever you want to call them - comedy dramas.
For years we've had all the big-hitting HBO box-set dramas, all these brilliant, witty, clever shows, and in return the only thing we've had to offer is big period dramas like 'Downton Abbey'.
Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.
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.
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.
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.
I'm lucky that I get to jump around, do a big-budget comedy and then a smaller film. I don't even make a big distinction between them.
You're just always looking for something new. That's why a lot of people bounce between TV and movies. You have the ability to try something else.
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