James Ransone Quotes

I just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.

For me, the scale of the budget is part of the creative process. 'Swingers' is the movie it is because we made it for exactly the right budget. Had it been made for a higher number, it would not have been as imaginative as we had to make it, given the budget constraints we had.

Usually, I make such small-budget films that I can't afford to buy weather.

When you're shooting a movie that's not necessarily a huge budget, you have to think about what you can leave out and still make it interesting.

I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.

When you're working with a smaller budget I suppose one of the things that has to be in your mind when you are writing is that you have to keep the characters down to a minimum.

We had a tiny budget for 'The Greatest,' which was the opposite of 'Wall Street.' We just kind of went in and did it. You've got four or five takes and then you've got to move on. We didn't even have trailers to stay in or anything.

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.

Indies are always an extra challenge. The time is shorter because you have less money to spend and fewer days to shoot.

As long as you keep your budgets small, there's a way of making films.

When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

I never think about the budget of the film.

I'm used to very low-budget situations. In 'The Exploding Girl,' we were literally changing in Starbucks because we didn't have trailers.

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

When you're starting out, you know, you have to do something on a very limited budget. You're not going to be able to have great actors, and you're most likely not going to have a great script.

The movies I usually do are maybe three or four weeks because they don't have a lot of money.

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.

On a really big budget movie you do chemistry reads, and you sort of hedge your bets a little bit more and make sure that these people get along. But on the low budget side of things, I have to trust my gut that when I cast these people, the various elements are going to play together.

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.

I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.

On Lock, Stock, we didn't know where the money for shooting the next day was coming from.

I also have experience working with American producer Roger Corman who knows a lot of secrets in making movies look bigger than their budget.

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.