A Quote by Ridley Scott
As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.
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Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.
I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.
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".
Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.
The consistent support that singles player are getting is way more than doubles, it is 100:1. We hardly get any support, the only support we get is from the government but it is not enough if we have to perform consistently at the highest level.
The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.
Non-film music is a different world together, and unlike films, usually there are no actors, actresses or other superstars to help you carry the song, they can only share and support.
Making an independent documentary film is so hard that usually, the usual model is that your film becomes a model for advocacy, so you can enlist that support group and get as much juice out of your film as possible. That's just practically, financially, what you need to do.
Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.
Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.
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.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the 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 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 have on a big budget film as well, but they're just much bigger.
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