Charles Dance Quotes

TV is all about schedule and budget, and you're always fighting that.

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

Well, we had more money and more time the first season than we did at TV 23.

With 'Gerald's Game' in particular, we didn't have enough money or time and it was really hard.

Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"

Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget.

When you're just writing, you can do anything with it. But with TV, you've gotta work within certain budget constraints, so you've got to pick and choose your battles.

They didn't have the money to keep Christopher Lee long enough to play his scenes with me.

We're a new show. We can't afford instant replay.

'Game of Thrones' is shot on a very similar kind of schedule to a TV show, but there's a lot more time and focus put into the script.

The biggest difference between British TV and American TV is money. But what money doesn't do on American TV, which I thought it would, is buy you time. You don't get more time. You get more toys.

Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.

It's happened time and time again, but the committee has always decided against it-the work was too conservative or didn't fit within the budget; there are millions of different reasons.

One of the things that's, I think, hard in television is that there's a certain sameness to a lot of television because you're working in a very constricted box, and the box is defined by the amount of money you have to spend and the amount of time you have to get ready.

Directing is a more pragmatic experience, where you have to deal with the restrictions of time and money that force you to make certain decisions you don't have to make when you're writing.

I'm a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better.

There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.

We have to produce a high-quality show, but we have less and less time and money to do it. If you are using the tapeless approach to save money, you will.

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.

Compared to TV, 'Palookaville' was restriction-free, except we had no money and no time.

A studio that's designed to make television shows is not a studio designed to make a fashion line, so a lot of times, we have ideas for things we might want to do but don't necessarily have the infrastructure to do them in a timely manner.

We went on 'Fallon' and they had like one hundred-plus employees working on one show, and it's like, I can't afford more than two employees.

Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.

If you have to make a story in 10 rupees or you know that at this stage you can get only 10 rupees then you cut down on your expenses. But when one has made four-five films one likes to broaden the horizons.

TV show is always challenging. It's challenging when you have all of the time and money in the world, and it's more challenging when you have less money.