Top 1200 Budget Film Quotes & Sayings - Page 7

For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.

I did a film [about a con-artist mom and son] called Bringing Up Bobby that Famke Janssen wrote and directed. No one's gonna hire me for their [big-budget] romantic comedy, so it's up to me to look out for great indie comedies and show people a different side of myself - even if it's for three people outside of my family.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

Perhaps women are lied to more often because managers think they're not going to push back. If you're told, "We don't have the budget right now" and have no access to the budget to prove otherwise, there's not much you can do, but there's no reason why you can't ask if you can reassess in six months. Then, spend those six months chronicling every good thing you do so you return with a stack of data that proves you need that raise.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

It is a paradoxical truth that tax rates are too high and tax revenues are too low and the soundest way to raise the revenues in the long run is to cut the rates now Cutting taxes now is not to incur a budget deficit, but to achieve the more prosperous, expanding economy which can bring a budget surplus.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.

Let's be realistic about that. I think Mercedes when it started the engine [development] didn't have a budget. It spent. And then lots of teams don't and can't. I mean Red Bull, for example, that won four world championships, didn't know the word "budget", and it's a case that it hadn't got the ability to have the engine that it should have had. Because somebody else [Mercedes] had the engine, wouldn't let them have it, because they didn't want competition.

If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.

In Surojit's film, 'Pagol Hawar Bodol Din,' I am a villager. Victor Banerjee is also part of the film. The uniqueness of 'PHBD' is that the whole film is like a poem.

I see how complicated it is to make a film and how many people are involved and I love the fact that I get to sit in a room on my own and the set costs nothing and the actors cost nothing and I'm the director and it's so simple. You just need a pen and paper to make a book. You don't need a huge budget or a gaffer or a best boy.

I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.

Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.

The difference between the big budget films I've done is the length of time. But in terms of the day-to-day, you're still going on to set, you're getting into character, and you're going and doing your job, so there's absolutely no difference. It's just the structure around it and the length of time. But in terms of budget and money, it doesn't really manifest itself.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

I don't see a big difference between the job of directing a low-budget movie and the job of directing a big-budget movie.

'Hudugaru' is a remake of the Tamil film 'Nadodigal.' The film is about what happens when relationships between friends or lovers is taken casually. The film will appeal to youngsters and families alike.

(in the film "That's Entertainment!" - 1974) Thank God for film, it can capture a moment and hold it there forever. If anyone ever asks you: "Who were they?" or "What made them so good?" I think a reel of film answers that question.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

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.

The headline in the Washington Post: "Democrats Confident They Can Block Trump's Agenda After Spending Bill Win." They think now they can stop Donald Trump's agenda for the next 3-1/2 years. They've shown how to do it. The agenda tied to the budget. The budget tied to government shutdowns. The Republicans cave at the first mention of a government shutdown; ergo, they've shut down Trump. That's what they're thinking.

Sometimes I feel like doing smaller budget stuff. When I did 'Young Adam', for instance, I'd come out of 'Black Hawk Down' and 'The Island', and I really wanted to be on a small film set. I wanted to be on something intimate and small again, and then 'Young Adam' cropped up in a pile of scripts I was sent.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

There's pressure to deliver as good of a movie with a little bit more of a budget, and that to me ... to me the hardest thing always is, I just want to deliver a good movie no matter what the budget is and no matter where we shoot it or any of those things.

Oh my God, I love UCLA so much. Their film school is great because it's unstructured, so there's a freedom to fail in there and just tell your story, and everybody makes a film. It's so important to have that freedom in film school because that's what you're there for: to learn and make a film.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

'Toofan Singh' is a Punjabi film based on a terrorist. The Pahlaj led CBFC banned the film because according to them the film glorifies terrorism, and that might give a wrong message to today's youth. However, the film has been released in many countries, and has been received warmly. Unfortunately, it never saw the light of day in India.

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

I think we should balance the federal budget tomorrow. I'm optimistic. I think Americans are optimistic. We went to the moon; we can balance the federal budget.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

Hindi film industry makes film for the rest of the world. Tamil films are watched by Malay people. When a film is not bound by a language, why should an actor be?

I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

Pennsylvania is facing challenging economic times, a multi-billion dollar budget deficit, and negative cash flow projections. My Budget Deficit and Fiscal Stabilization Task Force will get to work to determine the scope of the challenges facing Pennsylvania and begin to discuss how we can get Pennsylvania's fiscal house in order.

You really have to examine how long you are going to live in the house; budget and then you have to come up with a plan that fits within all of those things. Then you have to stop, sit down and stare at that plan for a couple of months, take your time and live with it in your mind. Once you've got your budget, plan it.

Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'

As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.

I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.

It [Hancock] happens to be a big budget film and big star like Will Smith, but it actually has a lot of weight to it. But it was very smart and very intelligent and had this kind of historical element to it that I was fascinated by. It's not silly. It's not stupid. It's fun, but I think it's smart. I think Akiva [Goldsman] writes really interesting material and there you have it.

We need to be honest with the American people about the problems and the challenges ahead and the solutions that are needed to fix them. And I would argue it's the president who has been missing in action on this front. He knows we have a debt crisis coming. All independent experts show us this. And so he hasn't even given us a budget yet. I mean, the law required that he was supposed to submit a budget the first Monday in February.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.

The programs supported by the International Affairs Budget are as essential to our national security as defense programs. Development and diplomacy protect our nation by addressing the root causes of terrorism and conflict. But it's not just about security. By building new markets overseas for American products, the International Affairs Budget creates jobs and boosts the economy here at home.

When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.

I don't want to revisit history or try to re-interpret it, you know, but starting from where we are now, given the experience that we've had in the last, you know, since 2001, which has been an utter disaster, I don't think it's benefited us. Half of our discretionary budget, right, it's like 54% of our discretionary budget right now is being spent on the military. This is not working.

I'm telling you, man, after I did 'Land of the Dead,' which Mark Canton produced, Universal picked it up, and I had to use stars. I didn't think I needed stars - Dennis Hopper was in it. I loved him. We hung out. I loved him, but his cigar budget was more than we paid for the entire budget of 'Night of the Living Dead.'

I wish that more people were willing to turn down upfront money in exchange for doing things that are more original. Turning down a seven-figure check has a ripple effect on the budget, which has a ripple effect on the storytelling. The higher the budget gets, the fewer storytelling risks you're able to take.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"

In a sense, comic books are frozen movies. If you look at a comic book, you are generally seeing the storyboard for a film. The great advantage of comic books, over the years, has been that, if they are frozen movies, they are not limited by budget. They are only limited by imagination.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

The truth is 'Akaash Vani' was not a young film. The second half of the film was quite mature. It's unfortunate that not many people have seen the film, so I am still associated more with 'Youth Centric Films'.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.