Tim Miller Quotes

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.

When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.

It doesn't matter how big or small your film is: you still don't have enough money. You don't have enough time to shoot it.

I try not to shoot unnecessarily or spend on extra expenses that normally happen on a film set - like actors' fees.

If you have to make a story in 10 rupees or you know that at this stage you can get only 10 rupees then you cut down on your expenses. But when one has made four-five films one likes to broaden the horizons.

They didn't have the money to keep Christopher Lee long enough to play his scenes with me.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.

Time spent on any item of the agenda will be in inverse proportion to the sum involved.

Scheduling is always tough, no matter what the budget size is, and we had our own run-ins with that on 'Fading of the Cries.'

I'm being told it saves money to shoot in Toronto, because of tax benefits, the crews are cheaper, but what I save in the bottom line, I lose in a million other ways.

People in Hollywood are going make pictures where ever it's the least expensive to make them.

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

The biggest difference between British TV and American TV is money. But what money doesn't do on American TV, which I thought it would, is buy you time. You don't get more time. You get more toys.

Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.

Whether you're making a million dollar film or a $100 million film there is never enough money, there's never enough time.

It is very likely that many firms spend more on advertising than, for their own best interests, they should.

The key, I think, from a business point of view, is to learn how to be efficient in making a record that's not too expensive, so that you're not going crazy spending tons of money making a product that might not ever return that money.

What happened on 'Mr. & Mrs. Smith,' I was given a big budget and given too many choices, and I made a lot of mistakes and missteps early on until I squandered all that extra money. But then, once my back was up against the wall, I made what I consider a really good movie.

When you're working with a low budget, the most expensive time is the time spent on the set. The words of the day are, 'Get off the set as quickly as possible,' and so CG enables you to do that.

In my worldview, time is energy that you can invest in things, and money is energy that you can invest. Time has significantly more leverage than money in terms of how much energy you get out of time.

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

I never think about the budget of the film.

You don't try to have the very lowest cost of an asset. You try to have the right asset. So rather than thinking about the lowest cost, the question is how do you get the best productivity.

I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.