Adam Shankman Quotes

I've had some of the best craft services on independent movies, actually, because they get more creative, generally, with a smaller budget. The work is still the same. I didn't really notice the difference other than I was getting dressed behind a curtain, basically.

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 problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.

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.

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.

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.

'You Can Count On Me' took 20 days to shoot, and we had 50 days to shoot 'Margaret.'

Not all of our movies work, but we take shots, and we're able to do that because we really stick to low budgets.

TV is all about schedule and budget, and you're always fighting that.

I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.

If we do another 'Deadpool,' we'd love to have more money for visual effects. But I don't think anybody does good with an excess of time or money.

No two people who make a movie on a certain budget scale are going to achieve the same thing because it just depends on what sort of favors you can call, and what sort of dynamics you can pull in the play.

There's always a concern over budget with film too but people are more extravagant when they're making a feature. In television everything's tight, everything's paired down and it's just a question of making it look expensive.

I think one of the biggest things is the budget.For a studio, becomes a very big challenge to make sure that movie will work even better on every level. As an actor I don't think in those terms when I make a movie.

There's many more films being made in America than there are in Australia. You make four hundred and fifty films a year, we make twenty-five.

There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.

Eleven years is a great length of time to prepare a movie, it would be wonderful to have 11 years of funded preparation.

For years, my job was to make the movie inexpensively. And I could bring it in. What I can't control are the costs of marketing.

Does the critic wish to influence the kind of film that costs more than £250,000? It is as if he were to send a postcard to General Motors explaining that he would like them to make a raft next year, or a helicopter, instead of a car.

At the end of the day, you're trying to make a certain film within a certain budget. Those rules never change.

You read a lot about movies with budgets of $25 to 30 million. Hell, if a studio can piss away that kind of money, why not let 'em piss on me?

Movies in Hollywood now, for the past 20 or 30 years, are made mainly by lawyers or agents.

I'm just thinking of 2001, which I think is the most expensive independent film ever made - which is great, someday I hope I will do one. But I know the parameters when I got onto this project - I have to take care of everyone, make sure that they are all on board, and this process interests me.

The biggest challenge [making Pineapple Express] was that we had a comedy budget. We really got excited the more we got into the development of it about blowing stuff up and having shoot outs. That stuff costs money.

Normally, you have all this knowledge from all the films that you've done that you've accumulated over the years, and you can constantly look back when you're in some sort of fix and say, "Well, on so-and-so film, we did this, and it worked out fine." You can point to these things, and you can have that assurance.