Top 1200 Budget Film Quotes & Sayings

With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.

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 do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.

A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.

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.

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 Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

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.

The Budget Act of 1974 established a timetable for the annual budget process. Under Title III of the Act, Congress is to complete action on the concurrent resolution on the budget by April 15.

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 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.

At the end of the day, regardless of whether you're doing a huge budget film or a small budget film, you still want the film to do well, and have people see it. That's the whole point. You want to put some kind of message into your films, and you want people to see it.

The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.

My name can raise money on a small-budget film.

Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget.

When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did Mars et Avril for only 2.3 million.

If you compare NASA's annual budget to explore the heavens, that one year budget would fund NOAA's budget to explore the oceans for 1,600 years.

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.

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.

Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"

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.

Mammootty came on board unexpectedly. 'Uncle,' which I am co-producing with Sajai Sebastian, was meant to be a low-budget film and we had almost cast another actor in the titular role. But, during the shoot of 'Puthan Panam,' I narrated the film's plot to Mammootty, who liked it and wanted to do the movie.

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 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".

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.

I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.

The budget for 'Sanam Re' was Rs 15 crores. I had extravagant ideas for the film, but they had to be curtailed to squeeze into my budget - which meant pre-planning and putting down every single detail on paper.

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?

The difference between an actor and a star is the budget and the overall presentation of a film.

When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did 'Mars et Avril' for only 2.3 million.

'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.

On a low-budget film, you don't have all the luxuries.

I will do a big-budget film. I will do an indie film. I will do a short film. I will do a digital platform show, television, and even theatre. I don't have any restrictions in terms of platform as long as the content is something that I find interesting.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.

Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.

The critics mostly review the budgets when they go to see a big-budget movie. They are out to get a big-budget movie. On the other hand, if they review a picture that is done as a graduate thesis by some college film student for $25,000, it is almost sure to be admired and respected.

I never think about the budget of the film.

'Baahubali' team is not after numbers. If we would have been number guys, we would have never made a film with such a huge budget. We just wanted to make the biggest war film of this country, but what it has achieved is amazing.

Even with a big budget, you can make a niche film.

I love what I did in 'Death Sentence,' but that was a low budget action film.

Approach every film with the same enthusiasm, regardless of its budget.

The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.

I always cooperate to complete a film within the budget. Not a single film of mine has overshot its budget.

It's not necessary that every film has to hit Rs 100 crore box office, or the Rs 50 crore budget. If the film makes double of its project budget, we consider that a hit, and that also means that the film is in profit.

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.

You can't compromise to keep the film in budget.

The success of the film should depend on its budget.

When you're battling against the minds of the studios and the money that can go into promoting larger budget films, it's very hard for a very small-budget Australian film to get a look in. You can get critically acclaimed and go to various film festivals around the world, but that doesn't necessarily mean the majority of people are going to hear about it.

I have never judged a film by its budget or stars.

I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.

When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.

What naturally stops you making the film is there is no more money in the budget. That's really what it is. If you had an unlimited budget, if you were a billionaire and you financed your own movies, then you can either date, because you can sit in an editing room for six years, like Howard Hughes, and never finish anything.

It's easier making a smaller film like El Mariachi. There are no budget worries because there is no budget. There is no crew problem because there is no crew. And if you screw up, no one is around to see you screw up -- so it's no longer a screw up.

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.

Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.

For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.

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.

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.