Adam Scott Quotes

We shot ten minutes of the movie, and now we're looking for completion funds.

When you do bigger films, the financiers take more risks.

Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.

Vidhu Vinod Chopra, who has produced my earlier films, is still a part of 'PK' and is presenting it. He is not a hands-on producer - he used to put a certain amount in the bank and give me the cheque book.

You only have so much money to shoot a movie with.

If you want your film to be instantly green-lit, your first approach is not to go to a relatively unknown English actor. They're not going to throw millions of dollars at you for that.

The studios don't finance anymore, they get outside funds.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.

If you can't categorize a film for a studio, it's really difficult for them to wrap their heads around it and give you the money.

We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.

The fact that someone came forward and offered $1.25 million to make a movie was astonishing. We were also allowed to keep many of the original stage cast.

It would be nice to make a movie that other people want to make, because every one of these movies, I basically have to find the only company in the world that's willing to make it, and it's always a big challenge. I end up spending a tremendous amount of energy and time trying to get money to make these movies and it's exhausting.

I do not need a producer. I need only a good production manager. I need only a man who will give me money.

It's great to make strong, powerful films, but in terms of people wanting to finance them, it's also very difficult.

I won't claim that I know it all, but I do know how much money is involved in making a Kannada movie. I've done my homework.

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.

The bagel budget for 'Sex and the City 2' could pay for 'Ghosted.'

At the end of the day, there is a lot of money that gets put into films.

Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.

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.

A lot of times, I relied on connections through my agency, just for financing and things like that. Even when I'm looking for a million and a half dollars to do a small film, there can always be hold-ups, because it's a large amount of money for some people, and it's a small amount of money for other people. In any case, it's significant enough to where you have to jump through a lot of hoops to get it to happen. Sometimes, the people who are helping you can drop the ball. And, of course, the reason agents want you to do bigger projects is that they make a bigger cut.

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?

I'm telling you, man, after I did 'Land of the Dead,' which Mark Canton produced, Universal picked it up, and I had to use stars. I didn't think I needed stars - Dennis Hopper was in it. I loved him. We hung out. I loved him, but his cigar budget was more than we paid for the entire budget of 'Night of the Living Dead.'

For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.