A Quote by Rider Strong
I hope to always be doing some low budget things.
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What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
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.
I feel that your ambitions should always exceed the budget. That no matter what budget you're doing, you should be dreaming bigger than the budget you have, and then it's a matter of reigning it in to the reality. You try to make things count.
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.
My feeling is, I do a lot of low-budget films. I don't do low-budget acting. I have no interest in just goofballing my way through, thinking, 'Ah, no one's ever going to see this anyway.'
I think one of my favorite things about making low budget movies is that when you get into expensive moviemaking territory, it's almost impossible not to reverse engineer the movies. It's irresponsible not to think about the result and the financial result. But when you make low budget movies, you can put that out of your head.
There're always some notorious people in the crew who are doing crazy things, but I try to keep it a little more low-key. My crazy thing is always just the show and putting all my energy into it.
People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.
The great thing about horror films is that they work on a low budget. The genre is the star. You don't need big movie stars, and I actually think a lot of times that the best horror films are the low budget contained ones.
Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.
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.
China should have a currency which is a much higher value relative to the dollar and other things. What they're doing is keeping it low, artificially low. And I mean seriously artificial. I don't just mean a little bit low. I mean major low.
I think calling what Paul Ryan is doing a 'budget' is lending some validity to it. It is not a budget. If it were a budget, he could justify his revenue projections, he could justify his cuts, and he can't. This is a scheme to rob the poor and give to the rich.
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.
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