Samantha Morton Quotes

The issue often with films is how it works with money and trying to get a visible movie star presence in the film.

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

When you are making an independent film, money is never an issue.

People go to extraordinary lengths to get films made.

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.

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.

Anyone who has an imagination can write a book - it's cheap to do - but movies are big money.

I used the principles of Kickstarter to make 'She's Gotta Have It.' We filmed that in 1985 to 1986. The final cost was $175,000. I didn't have that money. It was friends, grants, donations. We saved our bottles for the nickel deposit.

Shooting films in Britain is always difficult, because we've never got enough money to make them.

Anyone who's putting money into your movie would always rather you cast well-known people.

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.

It's very difficult to raise money, especially in the United States, for independent movies.

Just getting movies made is difficult because it takes a lot of money; I mean, it costs more money to make one movie than most bands will spend on every single record of their entire career; it's a huge undertaking.

When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.

Making movies seemed so impossible as far as getting my ideas funded.

At the end of the day, filmmaking is a business. You want everyone to make money.

I had originally written 'Pariah' as a feature, and we shot the first act as a short film, and then we used the short as a marketing tool to fundraise for the feature.

Every time I do a movie, especially an animated movie, I just seem to scream and shout and hyperventilate for money.

Unfortunately, we are not painters and authors, where we can do something in isolation. We require a lot of money to create what we create. It's almost like being an architect: You can't be an architect and build whatever buildings you want to.

Mid-range to low-budget movies have to have a name in the lead to get financing for it.

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

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.

A lot of people can raise money.

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

Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.