Katie Aselton Quotes

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.

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?"

I tried to film 'Leaves of Grass' in Oklahoma, but it was literally about a million dollars less to shoot in Louisiana.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

The issue often with films is how it works with money and trying to get a visible movie star presence in the film.

The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.

Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.

As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.

I make two movies a year to take care of the butcher and the baker and the school fees. Then I try to write, but it's not that easy. Acting is what's easy.

I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.

On Lock, Stock, we didn't know where the money for shooting the next day was coming from.

I don't go on set with an army of people because the most expensive elements of a movie production are the plane tickets, the hotel rooms, food and gasoline. If you're willing to discover new colleagues in the place that you are, you can save a ton of money.

The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.

Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.

We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.

Being on a movie set is like one long financial crisis.

Coming from the industry and maintaining contacts with producers and directors, I am very well aware that costs associated with movie production are a major factor in determining where films get made.

Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.

We shot ten minutes of the movie, and now we're looking for completion funds.

I do not need a producer. I need only a good production manager. I need only a man who will give me money.

I'm telling you, man, after I did 'Land of the Dead,' which Mark Canton produced, Universal picked it up, and I had to use stars. I didn't think I needed stars - Dennis Hopper was in it. I loved him. We hung out. I loved him, but his cigar budget was more than we paid for the entire budget of 'Night of the Living Dead.'

The good thing about feature films is that the budgets tend to scale.

I try not to shoot unnecessarily or spend on extra expenses that normally happen on a film set - like actors' fees.

If one makes a short film with reasonable technical finesse, it will cost between Rs. 50,000 and Rs. one lakh. That's a lot of money for someone starting off.

'Pod' was a significantly larger crew with Ilium Pictures co-producing. 'Darling' was bare bones. We had less than half of the crew that we had for 'Pod.'