A Quote by John Cameron Mitchell

Obviously, when you get into larger budgets, you have less of that freedom, and I just - I'm not a person that tends to make stories for those larger budgets. To me, it's not much fun to have that kind of pressure.
I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
Blog-based businesses have lower cost structures and are more 'authentic,' and as a result are drawing larger shares of ad budgets.
I do want to work on a larger scale with bigger budgets partially as a way to prove that women can do that, for sure. I definitely feel a bit of a responsibility to do that.
A security cam is one small part of a much larger universe of cams. The much larger effect, socially, politically and economically, is going to come from a much larger trend.
Investment is crucial but it's just the start. You look at some of the nations that have massive budgets but don't perform, then there are smaller nations who don't have massive budgets and can still get a reasonable medal count.
A lot of people just ask me about how I can do small budgets and big budgets, but many actors do both. I think the more self-destructive impulse I have is doing so many different characters.
Marketing executives like big budgets, as big budgets make it easier to grow the top line.
The budgets are much higher now, it costs more to make a movie and the kids that go to see them are into instant gratification. They want things bigger and bigger. I don't make those kind of movies. I make movies about relationships.
At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
It's difficult to make the interesting feature films that don't fit easily into a genre, even on modest budgets. It's tough to get those films made, but I'd rather try to get those films made than compromise too much.
I always want to encourage young artists. As the budgets get smaller, that might provide an opening for younger artists and more experimentation. Budgets had gotten quite large for art, as they had for architecture. I'm not going to cut back. The minute someone walks through my door, I go, "That's my thing and you got to let me do it."
A child is not a salmon mousse. A child is a temporarily disabled and stunted version of a larger person, whom you will someday know. Your job is to help them overcome the disabilities associated with their size and inexperience so that they get on with being that larger person.
I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.
The problem for independent filmmakers is that huge companies control all the promotion, all the advertising. Hollywood films' advertising budgets are as large as their shooting budgets.
All action takes place, so to speak, in a kind of twilight, which like a fog or moonlight, often tends to make things seem grotesque and larger than they really are.
The reality is, the United States has global interests. Our defense budget is about the same as the defense budgets or military budgets of every other country in the world put together.
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