A Quote by Sofia Coppola

I always like to keep the budget as small as possible just to have the most freedom. — © Sofia Coppola
I always like to keep the budget as small as possible just to have the most freedom.
I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.
The most important thing is to keep your team as small as possible.
You get really scrappy when you're making things for zero dollars, and you just have to keep thinking like that. It's not like, 'Oh, we now have a little bit more money, let's do things differently.' If you just keep boiling it down to the simplest possible way to make it, I think that always ends up being the best.
We haven't shed our engineering pragmatism, so we accomplish things in the simplest manner possible. It helps with budget, obviously. We're not getting rich off web video, and we're supporting two families with our income, so we need to keep as much of the budget to ourselves.
I think part of making movies is dealing with restrictions of freedom and budget. I'd rather deal with restrictions of budget. It's better to feel free within any budget.
It seems to me that obliviousness about white advantage, like obliviousness about male advantage, is kept strongly inculturated in the United States so as to maintain the myth of meritocracy, the myth that democratic choice is equally available to all. Keeping most people unaware that freedom of confident action is there for just a small number of people props up those in power and serves to keep power in the hands of the same groups that have most of it already.
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.
And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.
Some people make movies and think, "Well, I'll just keep asking for more money if this isn't enough." And then there are other people, like Clint Eastwood, who always come in under budget.
I just feel like I can live on. I hope I can reach 100. I think today if you just keep doing, keep working, that - maybe that's possible.
The cool thing about those small-budget movies is that there's a tremendous amount of freedom the filmmakers have since there's less money at stake.
When you're in front of the camera, for a small budget or a big budget movie, there's no difference.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.
The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.
I have long maintained the military budget is not a jobs bill... and will continue to support the lowest budget possible.
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