Christine Vachon Quotes

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 still, by and large, make low-budget Australian films.

I've made movies that cost less than one car chase.

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

I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.

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.

When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did 'Mars et Avril' for only 2.3 million.

When you do a low budget movie, you get a little over-ambitious.

I love films that are made with almost no budget.

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.'

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.

The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.

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

When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.

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

With an independent film, you have a little more freedom, and you also have less money, so you're sort of struggling to get it done, to get something that works. With a big studio, everything is there for you, and it's easier.

There's a few things I learned from my experience on 'Hieroglyph.' First of all, I learned that building a world doesn't need to be as expensive as a summer blockbuster. Yeah yeah, newsflash, I know.

See, nobody understood how we were able to make a film like 'A Room With a View' so cheaply, for about $3.2 million, and have it look as good as it did.

Making movies that are really cheap and that can be owned and that you maintain your control of is really exciting.

Let's keep making inexpensive movies.

When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.

I think in general with micro-budget films right now, it's rough. The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.

If you do movies that are modestly budgeted, the way they finance them is they figure out how they can sell them.