Marion Cotillard Quotes

I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.

Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.

When you're on set, and that clock is going, every second you spend doing something is a second you spend not doing something else. That's true of all of life, but it's very vivid on a film set because you're always managing that.

It doesn't matter how big or small your film is: you still don't have enough money. You don't have enough time to shoot it.

It's not that much of a difference. Basically, your job is the same as a film director. It's a triangle between creativity, money, and time. But they don't really change. You're ultimately trying to get the most creativity and time with the money that you have.

It's hard to make a good movie in four weeks. It's hard. I've done it, but it's not easy.

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

The filmmaking process is a team effort. A screenwriter cannot possibly do exactly what he wants as if he was writing a novel.

Scheduling is always tough, no matter what the budget size is, and we had our own run-ins with that on 'Fading of the Cries.'

I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'

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

There are only 24 hours in a day, and my top priority is working on my films, but I love short film experiments.

Whether you're making a million dollar film or a $100 million film there is never enough money, there's never enough time.

Whenever you're adapting something that's a 12- or 14-hour read down to something that has to be around two hours, there's going to be some cuts.

I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.

The thing you have to understand is that there are only so many things you can do in a year. There are only so many days in a year. There is only so much time you can set aside for certain projects.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

No movie has ever got enough time. It doesn't matter how much money you've got, and it doesn't matter how much money you've not got. You never finish on time. You're always up against it and you're always working up until the end.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

We wrote 'Olive Kitteridge' as six hours, and they asked us to make it in four.

When you're working with a low budget, the most expensive time is the time spent on the set. The words of the day are, 'Get off the set as quickly as possible,' and so CG enables you to do that.

Not all of our movies work, but we take shots, and we're able to do that because we really stick to low budgets.

My biggest regret is that there are only 24 hours in a day. I wish there was at least a few more hours. Each hour of me being awake means I can help a few more migrants who are stranded and are desperate to reach home.

If we do another 'Deadpool,' we'd love to have more money for visual effects. But I don't think anybody does good with an excess of time or money.

Sometimes you shoot for 40 or 50 hours for a one-hour show, and you have to make some very hard choices.