Freddie Wong Quotes

The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

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.

Chile could work as a double for L.A.; it's very production-friendly and there's terrific talent down there.

I don't go on set with an army of people because the most expensive elements of a movie production are the plane tickets, the hotel rooms, food and gasoline. If you're willing to discover new colleagues in the place that you are, you can save a ton of money.

It was important on The Shipping News to have my house far enough away from each location so I had this time in the morning to think about my shots and still remain open to surprises once I got to the set.

This one, even though it called for San Francisco, I think they wanted to initially shoot part of the film up here, you know get the exteriors and then go back to L.A. We really fought to get it up here and I think Paramount was really pleased.

In movies, images cost - if you want a big image, it takes more money.

I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.

A lot of a movie is locations, frankly.

It's hard to shoot anything in L.A.; it's just a chore, but they're great here.

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.

But you know, there's always a danger nowadays that films are gonna be brought up to Canada for budget reasons. And that's something that really concerns me.

Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.

Nowadays they either want to move the film to Canada or in some cases they go to Prague or Romania or they want to keep 'em down in L.A.

Production-wise, it is difficult to shoot an entire film in the U.S. It's logistically difficult, as getting permission takes time, and it is also expensive to shoot there.

If you're doing movies on a set... many times, I've shot the end of a movie in the first week of shooting. Because of locations or budgets or actors' availability.

'Pod' was a significantly larger crew with Ilium Pictures co-producing. 'Darling' was bare bones. We had less than half of the crew that we had for 'Pod.'

For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.

Coming from the industry and maintaining contacts with producers and directors, I am very well aware that costs associated with movie production are a major factor in determining where films get made.

I just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.

There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.

It's pretty easy to make a film in China. A few years ago I just walked into the office and let them know I wanted to make a movie called 'Red Cliff' and they were so excited. They said, 'Let's do it!' It's that simple.