Chris Pratt Quotes

Sometimes I feel like doing smaller budget stuff. When I did 'Young Adam', for instance, I'd come out of 'Black Hawk Down' and 'The Island', and I really wanted to be on a small film set. I wanted to be on something intimate and small again, and then 'Young Adam' cropped up in a pile of scripts I was sent.

You make a movie for 9k for the freedom it allows you.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.

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.

I can make a movie for $5M, which used to be a routinely low, independent movie, but there's no such thing as that any more.

The cool thing about those small-budget movies is that there's a tremendous amount of freedom the filmmakers have since there's less money at stake.

When I'm making a big movie, I miss and appreciate all the subtleties that come with making a smaller film that is more intimate, more personal.

I think to do a proper independent movie, in my experience, it takes 22 or 23 days to shoot. That was 'Party Girl' or 'House of Yes.' But now with the digital camera, the budgets have gotten smaller, and the days have gotten shorter.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.

I'm from that world where I feel so comfortable making small independent movies.

And my first film was Carnal Knowledge, another amazing experience, largely because of Mike Nichols, who would tell me you can't do anything wrong because you're doing everything right.

Look, Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.

It seems there's a sliding scale between the money they spend on a movie and its creativity.

To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.

Doing a musical is like having a kid. It's out there alive somewhere. It's not like a movie or a TV show where what we intended is what everyone will see. The kid can act out. The kid's going to do what it wants to do.

You end up giving up half your salary every time you make a movie because you need the money to make the movie you have in your head.

I want to make my own movie.

In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.

We don't consider black, urban films as 'indies,' though many of them are shot for under $10 million which is kind of the definition of an indie.

They all want you to make a movie for under a million dollars, which I don't want to. I don't want to be a faux radical film-maker at 70. I did that. I don't need to do it again.

At the end of the day, the less money you have, the easier it is to make a movie.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.