Yahoo Serious Quotes

My mother gave me this book called Feature Films at Used Car Prices by a guy named Rick Schmidt. I gotta credit the guy, cuz he gave me the most practical advice. It empowers you.

Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.

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

I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.

Usually, I make such small-budget films that I can't afford to buy weather.

For me, the movies I like are all independent. And getting an independent feature made, it's like you get down to the selling organs part, and it just loses some of its luster.

I would define independent film as a movie that is not financed by any of the smaller film companies. Because then, those are movies that in all likelihood are made without stars. And then they have to rely just on the material.

As long as you keep your budgets small, there's a way of making films.

Trying to make a feature film yourself with no money is the best film school you can do.

When you are making an independent film, money is never an issue.

When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.

With 'Sweetback,' I just put it together a little bit at a time. I didn't do it on anybody's grant. I did it like any other young executive - by cheating and stealing!

You can make amazing sci-fi films if you want to with very, very little money and very advanced technology that can run on your desktop.

Making an independent film is so different.

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

It's just hard to get an independent film made.

If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.

You can make a really good film for under a million dollars, like 'October Baby,' or under a half million, like 'Hardflip.'

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

It's nice when you're working in Hollywood and there's a movie you'd like to see that no one is making anymore. You make it yourself.

When you think of a movie, most people imagine a two hour finished, polished product. But to get to that two hour product, it can take hundreds or thousands of people many months of full time work.

I used the principles of Kickstarter to make 'She's Gotta Have It.' We filmed that in 1985 to 1986. The final cost was $175,000. I didn't have that money. It was friends, grants, donations. We saved our bottles for the nickel deposit.

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.

On 'Paranormal Activity,' it worked to my advantage not to have much of a crew, but on a bigger movie, where you have to work with a larger group of people who basically become your second family for a few months, it can be a great experience. Even though all of my projects are small scale compared to most Hollywood productions.

Of course, a movie is in constant flux.