A Quote by Niki Caro

With every film I've made, 'Whale Rider' included, I've had a vision that was far bigger than the budget allowed. — © Niki Caro
With every film I've made, 'Whale Rider' included, I've had a vision that was far bigger than the budget allowed.
Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget.
A film like 'Whale Rider' is equally truthful, perhaps more so, to the Maori experience; Maori people respond to 'Whale Rider' because it's a world that they understand.
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.
Every film that gets made, and I'm not just talking about 'Star Wars,' I'm talking about Marvel, DC, every tent pole film - they seem to just keep getting bigger and bigger and bigger and bigger. The worlds get bigger, the stakes get 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 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.
Back in 1980, whale watching surpassed whaling as an industry. Now it's worth about four times as much. Whale watching provides far, far more jobs to people than whaling ever did. Whale watching has become an ally in the fight to end whaling.
'Whale Rider' was quite an extraordinary shoot. We were in that community on the east coast and so much of what you see in that film was very present.
I made 'Whale Rider', I saw that to be specific and authentic is to be universal, and I've continued to work in an identical way ever since.
[Having bigger budget] allowed me to be a full-time filmmaker for a couple months and not have to have a day job and be balancing a bunch of other stuff. It allowed me to bring in all these people from different parts of the country. It allows me to have an actual food budget, where we could eat healthy for the month we were shooting. It makes all the difference in the world.
For me, the scale of the budget is part of the creative process. 'Swingers' is the movie it is because we made it for exactly the right budget. Had it been made for a higher number, it would not have been as imaginative as we had to make it, given the budget constraints we had.
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.
When I made 'Whale Rider' - of course, I'm not Maori and have no business, as a white girl, telling people how to be in this movie - I started by learning the language, as best I could.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
I'd like to enter in and out of that big budget world, rather than staying in it. It's not the case that the bigger the film, the better it is.
I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
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