A Quote by Dean Devlin

We're making high-budget movies with a low-budget attitude. — © Dean Devlin
We're making high-budget movies with a low-budget attitude.
I think one of my favorite things about making low budget movies is that when you get into expensive moviemaking territory, it's almost impossible not to reverse engineer the movies. It's irresponsible not to think about the result and the financial result. But when you make low budget movies, you can put that out of your head.
We love making movies. We got into the business to make movies. At the end of the day, whether you're doing a low budget film or a big budget film, you want it to do well and you want people to see it. That's the whole point. You want to put some kind of message in it.
I think part of making movies is dealing with restrictions of freedom and budget. I'd rather deal with restrictions of budget. It's better to feel free within any budget.
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.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
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.
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.'
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?
I'm a small filmmaker, making my small, low-budget movies, but I'm super lucky to know that everybody reacts differently to my movies. That's interesting.
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 just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.
For context, the budget of Don Jon is about half the budget of (500) Days of Summer. And (500) Days of Summer is about a third of the budget of the lowest-budget movies produced at a major studio.
Maybe it's just a matter of getting older and being aware that the market for medium-budget and low-budget films, which is of course what I spent most of my life making, has diminished. And maybe the quantity of ideas has diminished a little bit.
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.
People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.
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