A Quote by Katie Aselton
The Freebie cost virtually nothing. We funded the movie ourselves, people got paid, but were mostly paid in the back end, we used one of the cheaper cameras we could get. The movies have a look to them, you can sorta point out the really low-budget movie. So even if the heart of the movie and the story are really, really great, they always sorta feel a little cheap.
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Up until doing this movie, I hadn't really paid a huge amount of attention to those genres, but after finishing this movie, it really gave me a different sense of appreciation of the way the movies play out.
You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.
I did this very cheap movie called 'Love,' and then I decided I wanted to make an even cheaper movie so people don't get involved and can't tell you how to rewrite it or how to avoid losing money. The good thing about doing these quite cheap movies is that you have much more freedom.
I worked at a movie theater in Tempe, Arizona, when I went to community college there. And I got fired because a sorority had rented out a theater to watch 'Titanic,' and they were being really rude to me while they were waiting for the movie. So as I tore their tickets, I told them the end of the movie.
There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world.
right now.
I worked with the same producer from The Freebie, my cinematographer was one of my shooters from The Freebie. I was really aiming to tackle a genre, but sorta tackle it in my own way, and put my stamp on it, and the way that I like to see movies made.
I've hit a point where my big luxury is getting to work on the things I want to work on. That's my hobby. It's being able to do a movie like 'Chef,' where you don't get paid, where you get paid scale, but you get to do exactly the movie you want to do. To me, that's worth more to me than whatever money I would have gotten paid.
To be in a movie directed by Wolfgang Petersen, and a movie that had a large budget... I got a taste of what really good filmmaking could be.
When we wrapped Resident Evil, we were a 3D movie, but it was no big deal. And then, Avatar came out and the whole of Hollywood was like, "Look at these grosses! 3D is huge. Let's all be 3D!" We just got on with doing what we were doing, which was making what we think is a really quality, kick-ass 3D movie, and we'll really be the first live-action 3D movie of the year.
It was one of those moments that would have had dramatic music if my life were a movie, but instead I got a radio jingle for some kind of submarine sandwich place blaring over the store's ambient stereo. The movie of my life must be really low-budget.
I went into Xanadu going, 'I really dislike this movie - let me try to make it something wonderful,' but with 'The Band Wagon,' I really revere this movie. It's really a beautiful movie musical. And, yet, because I'm a writer and look at it that way, I see that there are faults in it.
Even though it took forever to release a movie, and even though it's a small indie release, the fact that in five years someone will be skipping through Netflix, or Amazon, or whatever and say, "Wow, that was a really cool movie. That was a really great story. Or I was really creeped out, or intrigued by that." You almost kind of forget what it took to get there, or was it in the theaters or not. So that's kind of exciting as a filmmaker. That it doesn't really matter as much the release platform, as much as how can I see it?
I got my shot at the movies. I love doing standup live. I didn't know what I wanted to do. I wanted to try movies, so I gave it a shot. I had two shots and I didn't really do it. That wasn't really happening for me. On the second movie I got to meet the girl that would be my wife. So I got to hang out with her and get engaged, and get the whole wedding thing. It was really great.
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