Charlie Weber Quotes

If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

I think the press mistakenly thought that all of these 'mumblecore' filmmakers were banded together in a similar ideology, but the truth is that we were all just using the same digital camera and helping each other make our movies because we were broke, and we were the only idiots willing to do it.

After 'Maryada Ramanna,' I wanted to make a quick film on a shoestring budget.

Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.

Because of the cumbersome nature of filmmaking, it's only recently that it has become available to the masses, with digital equipment and laptop computers. You can now actually make a pretty serviceable movie for very little money by yourself.

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.

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

When I did that '3 Days of Normal' one, we had no budget, and we were all staying in a house in New Hampshire. There's no trailers, and it's just a family environment. There's not much of a crew; you just do what you need to do.

Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'

I usually make films with $2 and a paper clip.

My dream is just to make zero-budget movies for the rest of my life, because I love that environment.

By the time I got to Bournemouth Art College, I'd been so inspired by Sam Raimi and Robert Rodriguez and their tiny, no-budget films that I decided to do a feature-length version of 'Fistful Of Fingers.'

Making an independent film is so different.

The thing I love the most about low budget films is the creative freedom.

To make a low-budget independent is not easy work.

There's no excuse not to make films on weekends with friends.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.

One of the reasons I really love low budget filmmaking is you don't have to think about that as much. You can have more fun and be more playful and be freer creatively.

Independent filmmaking has always been there and it's not to be forgotten.

We didn’t want to disrupt the creative process. We have the chance to make the films we want because the films are not expensive. It’s very rare to be able to do that. It’s completely pure.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

I tell people if I want to make a film I just go make it so you can make yours.

Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need to make money.

Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.

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.