A Quote by Elliot Page

There's no big budget Canadian movie. Whatever movies are big budget in Canada come from the States. Or also have States financing. Everything's pretty small.
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.
When you're in front of the camera, for a small budget or a big budget movie, there's no difference.
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.
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.
Senator McGovern is very sincere when he says that he will try to cut the military budget by 30%. And this is to drive a knife in the heart of Israel... Jews don't like big military budgets. But it is now an interest of the Jews to have a large and powerful military establishment in the United States... American Jews who care about the survival of the state of Israel have to say, no, we don't want to cut the military budget, it is important to keep that military budget big, so that we can defend Israel.
The critics mostly review the budgets when they go to see a big-budget movie. They are out to get a big-budget movie. On the other hand, if they review a picture that is done as a graduate thesis by some college film student for $25,000, it is almost sure to be admired and respected.
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.
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.
Sometimes, big budget movies with big stars also flop, and sometimes small films manage to win the heart of audiences. Ultimately, it is the viewer who is the king and it depends on the liking of the audiences.
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 don't see a big difference between the job of directing a low-budget movie and the job of directing a big-budget movie.
Small films, made on shoe-string budget work in big centres, and for that a substantial amount of budget should be set aside for marketing.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
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.
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.
To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.
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