A Quote by Robert Carlyle
Most of the time, you find that the smaller the budget, the more the project is about something substantive.
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There is something demoralizing about watching two people get more and more crazy about each other, especially when you are the only extra person in the room. It's like watching Paris from an express caboose heading in the opposite direction--every second the city gets smaller and smaller, only you feel it's really you getting smaller and smaller and lonelier and lonelier, rushing away from all those lights and excitement at about a million miles an hour.
The bigger the budget, the more you can afford to compromise with Mother Nature. The smaller the budget, the more you're like, "Okay, well, we have to do this, but how can we afford to do it." That's when you have to get really creative on the business side, as far as making compromises.
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 budget is not an issue. I mean a budget is used if you need more weeks or more time or more elements, but the creative process is exactly the same. In some instances you become more of a boss when you are doing a small movie. So that is not so relevant. The only thing is that the bigger a movie is in terms of budget, is that there are more people giving opinions.
You can find a lot of reasonable buys at Wal-Mart. But one key to making it on a budget is by donating your time and labor to the project. Do-it-yourself projects will always help you save.
Projects are usually undertaken to either solve a problem or take advantage of an opportunity. The probability that the project - even if precisely executed - will complete on time, on budget, and on performance is typically small. Project management is utilized to increase this probability. So in a sense, project management is risk management.
I seek a diverse spectrum of roles. If I just was in a large-budget feature for a younger audience, then I want to find a smaller, more character-driven piece that might be for a more mature audience. Or if I'm playing a goofier character, then maybe I want to go play a serious, psychopathic character. But at the same time, it's usually a case-by-case basis where I'm judging the merit of a role by the script I'm given, and it usually has less to do with the larger framework and more to do with how the part personally appeals to me in that moment.
And what I liked the most about any project was that when it was good, you had a bunch of people trying to accomplish something together who were all acting together as one - that's the most exciting time for me.
If the budget that you're talking about isn't a good one, then it's better not to pass a budget. Most people in the country will never notice whether we pass a budget resolution or not.
I find that the most special thing to me is if you've connected to people in some way: If someone comes up to you on the street and says something to you, and you know it's meant something to them, and it's connected to some project. That, I find, is amazing.
When you raise the budget, you make creative compromises. The higher the budget goes, the more cuts in your movie happen. When people talk about how movies are watered down, that's a direct reflection of money and budget. The less money you spend; the more risks you can take. That doesn't mean it will be successful, but at least you can try different stuff. The higher your budget is, the less you can do that.
The work I prefer to do are the smaller budget pictures, television can be great but it ties you up for quite a long time.
Most journalists now believe that a person's privacy zone gets smaller and smaller as the person becomes more and more powerful.
The more we serve our fellowmen in appropriate ways, the more substance there is to our souls. We become more significant individuals as we serve others. We become more substantive as we serve others—indeed, it is easier to “find” ourselves because there is so much more of us to find!
It's no accident that all the awards are for smaller movies. When you have $100 million in the budget for a movie, there's something obscenely wrong with the picture. But we didn't in those days, so it was fun.
I do think the smaller-scale studio works have that incredible love of data crunching, whereas I would say the large-scale earthworks tend to be much more stripped-down. With the mappings, as connected as they are to a much more analytical idea, what's a map? And can I make a map about time? I think the first time was Hurricane Sandy, the flood plane; a moment in time, but indelibly marked on any of us who were in the city. Mapping time is something that I'm really interested in.
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