Bruce Campbell Quotes

It's just hard to get an independent film made.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

More personal films, you could make them, but your budgets would be cut down.

A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.

With 'Sweetback,' I just put it together a little bit at a time. I didn't do it on anybody's grant. I did it like any other young executive - by cheating and stealing!

I think, in general, independents don't have a lot of access to really good scriptwriters or actors or actresses, so they're very limited in what they can do.

I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.

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.

No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn't what I'm about. I'm much more of a creator and a doer.

With an independent movie, it's like, 'Okay I know what I want, and I got to go for it.' I just got to get the A version of this. Occasionally we'll try a B version, but not often. We'll just get what's scripted and try to do that as best we can, so you sort of edit while you shoot an independent movie.

I've produced my own films for twenty years now - it means I have to talk to less people.

With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.

I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.

The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.

I'm still auditioning and doing other movie parts, but I really like the developing and the writing. You have more control over your destiny.

The ultimate thing is creating your own stuff and making projects for yourself. That's what Seth Rogen does. He's writing and producing a lot of the movies that he's the lead in.

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.

I always say that AMC hires filmmakers, and they let them be filmmakers.

I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.

Studios never put pressure. They know the kind of films I want to make.

When we did Wayne's World, it was 14 million dollars and they didn't bug us too much because they just thought it was some little movie that nobody was ever going to see. We showed them.

We've been remarkably lucky in that we've been free to make the movies we've wanted to make the way we've wanted to make them. They've all been made for a price.

Shooting 'Adam & Paul' was very tough. There was barely enough time, and the budget was tiny. On top of that, we shot in dangerous locations where we had little or no control or security.