Katie Aselton Quotes

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

After 'Maryada Ramanna,' I wanted to make a quick film on a shoestring budget.

I can't speak for other people but the budget of my films is super tight to an extent that people can't even imagine.

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.

Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.

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.

It just proves good movies don't need 100 million dollars to be good.

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did 'Mars et Avril' for only 2.3 million.

When you do a low budget movie, you get a little over-ambitious.

Comedies are just never that expensive quite frankly. They really aren't. We aren't doing green screen shooting, so even Hangover II in Bangkok might seem like it's expensive, you're flying over and back, but they're just not that expensive to make when you do it the way we do it which is very focused and I've done it before.

When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.

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.

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.

I made 'Super' for $3 million, and that was filmed in 24 days. And that $3 million dollars went to a lot of things other than what shows up on screen. Once you get done with the unions and everything else, that's just, like, the basic cost of what you can make a movie for.

Make your film for the least amount you can.

The budget of 'Vada Chennai' is nearly Rs 60 crores.

There is no reason why excellent pictures can't be made for $4-5 million.

I always, as a firm rule, make my movies based on how inexpensively I can make them because that means the more freedom I'm going to have.

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.

Vada Chennai 2' needs a big budget.

I love making cheap films. I really do. What I've found is that I work better when it's both a fairly low budget and a short schedule. It focuses the mind, and it's a better atmosphere.

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