A Quote by Naga Chaitanya

I always cooperate to complete a film within the budget. Not a single film of mine has overshot its budget. — © Naga Chaitanya
I always cooperate to complete a film within the budget. Not a single film of mine has overshot its budget.
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.
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.
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 only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.
Sonali Cable' is not a low budget film, it's a normal budget film.
It's not necessary that every film has to hit Rs 100 crore box office, or the Rs 50 crore budget. If the film makes double of its project budget, we consider that a hit, and that also means that the film is in profit.
I am very grateful that the Russian budget has a yearly budget for film. And usually this budget goes to "auteur" cinema, which actually needs this support and which indeed contributes to creating "national culture".
I was able to lean on people for favors and things to help out because their budget was so low. It was half of what John Travolta's perk package is on a film. Our whole budget was half of what his staff makes on a film.
At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.
The budget for 'Sanam Re' was Rs 15 crores. I had extravagant ideas for the film, but they had to be curtailed to squeeze into my budget - which meant pre-planning and putting down every single detail on paper.
Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.
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.
The Budget Act of 1974 established a timetable for the annual budget process. Under Title III of the Act, Congress is to complete action on the concurrent resolution on the budget by April 15.
I do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.
Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"
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.
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