A Quote by Cameron Monaghan
Large-budget movies start to lose focus on the story and the actors, and it becomes purely about the visual, or CGI, or framing with the cranes, or whatever it may be.
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Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.
Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
So we must realize this: the suicidal framing story that dominates our world today has no power except the power we give it by believing it. Similarly, believing an alternative and transforming framing story may turn out to be the most radical thing any of us can ever do.
I think sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical.
To find a good story, you’re generally going to find it in independent or lower budget movies... I wouldn’t mind doing a big budget movie if it had a great story.
I don't worry about budget, at least not early on. I discovered that if you start worrying about budget, then you'll get half of whatever you're trying to worry about. You're constantly working yourself into a corner. So, you just shoot for the stars and then see what you get.
Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
So you want to take the risk, and you want to step out there; you do it because that's what we have to do as actors. And sometimes in TV, it becomes big, and it becomes about the entertainment, but also, we have to focus in on the work.
If you start to believe the hype about yourself, then you start to lose the bigger picture, and your focus is in the wrong place.
I enjoyed using cranes and using all these CGI images on 'Enter the Void.'
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.
Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.
When you're underwater with goggles on, a couple of your senses are taken away, and it becomes this purely visual thing. It's just you and yourself.
If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
For context, the budget of Don Jon is about half the budget of (500) Days of Summer. And (500) Days of Summer is about a third of the budget of the lowest-budget movies produced at a major studio.
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