Zitat des Tages über Low-Budget:
I spent years working in low-budget horror films. When you've done 'Cannibal Women in the Avocado Jungle of Death,' you can handle anything!
My friend James Cameron and I made three films together - True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.
Oh yeah - for sure - hardly a week doesn't go by when I don't hear something wonderful that someone has made in some low-budget situation, primarily with a view to selling a few hundred copies at their concerts.
I'm always looking for a low-budget script with an interesting character to play.
Look, I've done some low-budget movies and I've done some big-budget movies, and the big-budget movies were always kind of disorganized.
I learned from making a few of these low-budget videos early on that the best way to go about doing it is just to keep it honest and real.
My taste in watching things runs from dramas and low-budget films to high-end fantasy/science fiction.
I still, by and large, make low-budget Australian films.
I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I'm proud of, but I also want to make a living.
My father was a low-budget monster movie maker, so he made classics like 'The Crater Lake Monster.' There were always creatures around. And my dad was a huge fan of Ray Harryhausen. One of our neighbors, who went on to win several Academy Awards, was close friends with my dad. His name is Phil Tippett.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
On a low-budget film, you don't have all the luxuries.
I need three million dollars to make a low-budget, intellectual, artistic, exciting, erotic movie with a great soundtrack.
When it's low-budget, and you have one other person on the set, you have to make rules.
The 'Damsels' crew was low-budget, young people who were doing their first thing almost. A lot of it. It felt like Pied Piper or Rumpelstiltskin or whatever: it was me and people thirty years younger or more. But it was great; it was really fun.
I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.
My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.
You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.
I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.
That was the magical thing about the Seventies: artists ruled. Because films were relatively low-budget, nobody cared. We could just go off and work.
'Eagle vs Shark' was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.
Talking to other people who make low-budget movies, everyone kind of has the same struggle.
I have a theory that there's almost this primal viewpoint on women in the business, that once you're beyond childbearing age, you are perceived as nonthreatening, nonsexual, noncastable. Sure, I already knew it before I got into it. I just didn't know I'd end up making my living from low-budget, independent films.
Comedy fans are the best fans. They embrace and support you doing low-budget work and will follow you to the end of the earth!
I just like to do work that inspires me, and I don't pay any attention to whether it's a high- or low-budget movie.
My feeling is, I do a lot of low-budget films. I don't do low-budget acting. I have no interest in just goofballing my way through, thinking, 'Ah, no one's ever going to see this anyway.'
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.
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.
The reason I took Early Edition - besides the fact that I liked it - was that it enabled me to start a production company in New York City. It's a low-budget film company to produce and direct movies.
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.
There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.
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.'
