Nate Parker Quotes

I never go overbudget on my movies.

We know Donald Trump wants to hit his goals ahead of time, and under budget.

I always cooperate to complete a film within the budget. Not a single film of mine has overshot its budget.

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.

Budget grows out of the story. If you're writing a story with people caught in an elevator for most of the film, you're pretty sure it won't be a $200 million movie.

People are piling into England, there's lots of studio films happening there. When we budget our films we multiply it by 1.55 it's much easier than when we multiply it by 2 so the cost looks a lot less in dollars, because everybody talks in dollars in terms of finance. And then the shift that I think is coming, I hope is coming, is movies made in a..."simple" is the wrong word, you visit movie sets all the time I imagine, the whole process has just got so big.

I've always worked very efficiently on small budgets, both in documentaries and in features.

The cost overrun [for the C-5A] here is so much smaller as a percentage of what we expected it to be when we let the contract, that it is a great improvement.

The bond company comes in if you exceed your costs; they're the insurers of the film. In the worst-case scenario, they take over the production.

Projects are usually undertaken to either solve a problem or take advantage of an opportunity. The probability that the project - even if precisely executed - will complete on time, on budget, and on performance is typically small. Project management is utilized to increase this probability. So in a sense, project management is risk management.

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

The first thing I control is the cost by not shooting for many days. It is not control, but somebody has to drive the whole thing. If I shoot unnecessary things, it will raise cost.

You can't compromise to keep the film in budget.

Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.

One of the reasons the producers' credit has been so weakened in recent years, and given to people who didn't deserve it, was that people didn't understand what producers did.

I got so good at writing to a budget, my brain was restricting myself. I'd write, "It's a stormy night." Then I'd cross out stormy. I'd write: "It's a calm night." Then I'd cross out night. It's noon. Because you know how much night costs. You know how much rain costs. Nothing comes free in movies.

There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.

I'm always running around trying to raise money to make the films. Fortunately, I've been able to do that, but if I can't, at this point, it's not like I wanted to spend a lot of time putting together, you know, you spend a year of your life on something, you go, "What the hell am I doing that for?"

Some people make movies and think, "Well, I'll just keep asking for more money if this isn't enough." And then there are other people, like Clint Eastwood, who always come in under budget.

You have to take a wheelbarrow full of money and roll out and try to make a movie out of it. But you run out of money eventually, and then it becomes painful and it becomes a struggle and time will kill the enthusiasm!

At the end of the day, you're trying to make a certain film within a certain budget. Those rules never change.

If one makes a short film with reasonable technical finesse, it will cost between Rs. 50,000 and Rs. one lakh. That's a lot of money for someone starting off.

Kaante' will help the film industry. Very few films are like this one - pre-production in Europe, one-schedule shoot, well planned post-production.

Television is an excellent training ground for a director. If you work consistently in television, as I did, you have to come in on time and on budget. What you are allowed in feature films are, fortunately, more time and a larger budget.

The trouble is, the older you get, it's hard to find time to make a film: it's a year to write, a year to get money, a year to make it, a year to edit. It's four years of your life.