A Quote by Scott Adkins

I'm like the king of the low-budget sequel. People ask, 'What film are you gonna do next?' 'I don't know, but it's probably got a 3 or 4 in the title.' — © Scott Adkins
I'm like the king of the low-budget sequel. People ask, 'What film are you gonna do next?' 'I don't know, but it's probably got a 3 or 4 in the title.'
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.
'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.
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.
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?
'Crouching Tiger, Hidden Dragon' is not a direct-to-video, low-budget sequel: it's a big film. And it'd be fantastic to have the opportunity to see it on the IMAX screens at the same time, and IMAX has made arrangements with us for that to happen.
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.
Sonali Cable' is not a low budget film, it's a normal budget film.
I've got an extreme bias toward governors... they know what it's like to make hard decisions. They know what it's like to actually balance a budget - have a budget, first of all, and have a balanced budget.
A lot of people ask me, 'Are you going to do a sequel to 'The Guest' or 'You're Next?' - those movies weren't financially viable, so even though there are a lot of fans of it, it'd be a pretty small market we'd be appealing to. It's got to be a big hit for you to really justify that.
Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.
When people ask me, 'When are you gonna stop rhyming?' I don't know when I'm gonna stop rhyming because we all got situations. Even when I get 50 or 60 years old, if God spares my life, if I got false teeth and I'm still rhyming, I have to rhyme about that.
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.
People ask me, 'What's your next film?' And I never know.
I got everything I need right here with me. I got air in my lungs, a few blank sheets of paper. I mean, I love waking up in the morning not knowing what's gonna happen or, who I'm gonna meet, where I'm gonna wind up. Just the other night I was sleeping under a bridge and now here I am on the grandest ship in the world having champagne with you fine people. I figure life's a gift and I don't intend on wasting it. You don't know what hand you're gonna get dealt next. You learn to take life as it comes at you... to make each day count.
When jobs come up, like a low-budget film like The Last Exorcism, you say yes and you see where it takes you.
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