A Quote by Peter Jackson

The big-budget blockbuster is becoming one of the most dependable forms of filmmaking. — © Peter Jackson
The big-budget blockbuster is becoming one of the most dependable forms of filmmaking.
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.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts. A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.
I really like Jason Blum a lot. We're friends, and while we make wildly disparate films, we share a philosophy about low-budget filmmaking, about taking chances on young filmmaking, taking risks and obliterating our salary so we can make something cheaply and if it wins everyone wins big.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.
Pop was initially ignored as a moneymaker by the recording industry. In the seventies they were still relying on Frank Sinatra and Tony Bennett for their big hits. You know, most of the budget for the record companies in those days went to the classical department - and those were big budget albums.
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.
I'm big on this 'no budget, no pay.' I think that's important. Let's get right at the heart of the issue. Even when I was in the state legislature, the most important function we had was to pass the bloody budget.
For years, Blockbuster Video has edited movies. Like The Bad Lieutenant, when he's masturbating while the girls in the car are doing the thing. I rented it from Blockbuster and sped to that scene, and it was gone. I called up Blockbuster, and I'm like, "I got an erection, and the scene's not there."
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.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
A big part of filmmaking, and a big part of the power of filmmaking, is creating characters that people fall in love with. So, those things, like the bloopers, create more reality and dimension, and the sense that these are not drawings or shadows, but they are living, breathing, thinking characters. That's the illusion.
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.
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.
Zero budget filmmaking is frustrating but also liberating.
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