Peter Hedges Quotes

When you're starting out, you know, you have to do something on a very limited budget. You're not going to be able to have great actors, and you're most likely not going to have a great script.

All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.

Maybe it's just a matter of getting older and being aware that the market for medium-budget and low-budget films, which is of course what I spent most of my life making, has diminished. And maybe the quantity of ideas has diminished a little bit.

I was able to lean on people for favors and things to help out because their budget was so low. It was half of what John Travolta's perk package is on a film. Our whole budget was half of what his staff makes on a film.

I don't think people understand when you say you are making a micro-budget film that you are getting paid no money.

Most of my comedies were low on budgets - certainly by American standards.

There are a lot of female directors in documentary, very talented. But it's always lower budget.

'Generation Kill' was not a very glamorous shoot. For all intents and purposes, it was low budget, and all the money they had went to what you see on the screen.

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 size difference on a Warner Bros. film versus the small productions I had been on in Europe was enormous. You go from 20 people on set to 150.

For me, the scale of the budget is part of the creative process. 'Swingers' is the movie it is because we made it for exactly the right budget. Had it been made for a higher number, it would not have been as imaginative as we had to make it, given the budget constraints we had.

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.

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I I have on a big budget film as well, but they're just much bigger.

It kind of irks me that the studio films still have to be so safe even though they don't really cost as much to make.

I never think about the budget of the film.

Sonali Cable' is not a low budget film, it's a normal budget film.

I don't choose to make movies as small as the movies I've made. The combined budget of my two films is far under $5 million, but it's just by necessity that it ends up being that way.

Small films, made on shoe-string budget work in big centres, and for that a substantial amount of budget should be set aside for marketing.

I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.

A lot of low-budget genre films you see are horror movies, because horror is the friendliest movie to lack of money.

Even with a big budget, you can make a niche film.

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.

When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.

I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it's great, too.