A Quote by Duncan Jones
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.
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We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.
Movie is a near art form. It's showbiz and people want to make money. And generally people are financing things because they think it will make money whether it's a cable news show, a cable show, or a feature film, or whatever it is. So that's the part of it that drives it, I think, is really the dollar.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
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.
If your income on films or whatever you're producing using film drops below a certain level, then you don't have enough money to stay in business. People like to say that this is all just about making money, but if you don't make money, you don't make anything.
I have refused money sometimes for a film. I have refused films when I felt that it was not for me. When it was just a job or just about making money, I said no. I wanted to make every film count, and when you are true to yourself, this gives you a certain integrity and a certain reputation.
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?
As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.
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.
Biggest problem? Well, I'd say it's been my biggest problem all my life. MONEY. It takes a lot of money to make these dreams come true. From the very start it was a problem. Getting the money to open Disneyland. About seventeen million it took. And we had everything mortgaged including my personal insurance.
People look at me in many ways. They've said, 'The guy has no regard for money.' That is not true. I have had regard for money. It depends on who's saying that. Some people worship money as something you've got to have piled up in a big pile somewhere. I've only thought about money in one way, and that is to do something with it. I don't think there's a thing I own that I will ever get the benefit of except through doing things with it. I don't even want the dividends from the stock in the studio, because the government's going to take it away. I'd rather have that in (the company) working.
Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
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.
When you're battling against the minds of the studios and the money that can go into promoting larger budget films, it's very hard for a very small-budget Australian film to get a look in. You can get critically acclaimed and go to various film festivals around the world, but that doesn't necessarily mean the majority of people are going to hear about it.
The amazing fact that one person can make his own film - I think animation is somewhat unique in that respect. I don't need to deal with lawyers. I don't need to deal with corporations. I don't need to deal with executives or agents or any of that. I can just sit at home and make a feature film. That's a wonderful experience. Each film I make gets more popular, more press and makes more money. So it's amazing that I've survived and actually prospered doing that sort of homegrown, cottage-industry filmmaking.
I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.
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