David Dobrik Quotes

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

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.

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

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.

We may not have a sample size larger than one, or we may not have unlimited resources - it's a TV show, and we generally turn these things around in about a week or so.

We get a successful television series or something, and next season they give you less time and less money, which is something I've never really understood. That doesn't happen with Game of Thrones.

I run advertisements and sell T-shirts to cover overhead costs and pay the few people who help me out behind the scenes. Anything left over is spent on production costs, animation costs, etc.

The cost of energy is directly related to the cost of hiring workers and running a business.

All businesses require capital, management and labor, and business executives, wanting to grow and maintain profitable enterprises, have a strong incentive to keep costs, including labor, as low as possible.

I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.

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.

Overhead will eat you alive if not constantly viewed as a parasite to be exterminated. Never mind the bleating of those you employ. Hold out until mutiny is imminent before employing even a single additional member of staff. More startups are wrecked by overstaffing than by any other cause, bar failure to monitor cash flow.

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.

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.

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

I just wish I got a quarter every time someone clicks on 'Little Women, Big Cars.' We had a 125-page script for this show. We used the creator's house to shoot. But it's expensive to do these shows. They're eventually not going to be able to get the quality of actors.

Frankly, we don't have the resources to go everywhere and do everything.

Everyone has a different perspective and they all want their perspective to be addressed within the limited resources you have.

Human use of one resource runs squarely against human use of another resource.

The more screenwriting you do, the more you become aware that particular scenes aren't going to end up in the movie because they're too expensive. That has perhaps changed the way I think about writing novels, actually, because now I write expensive scenes whenever I can.

When you have to earmark human and monetary resources for such a long time, it starts to hinder your other activities.

As long as we are one of the most expensive countries to produce in, we should focus on cutting costs that directly and indirectly weigh on business.

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.

Even in large corporations, smaller ideas may not get enough resources.

What I do know is how difficult it is in this industry to get a show on the air. There's so many different stages: getting a script bought by the network, then getting a pilot made and having that pilot go to series, and then, when that series gets on the air, having people watch it.