Peter Jackson Quotes

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.

We had a tiny budget for 'The Greatest,' which was the opposite of 'Wall Street.' We just kind of went in and did it. You've got four or five takes and then you've got to move on. We didn't even have trailers to stay in or anything.

I love films that are made with almost no budget.

Definition of an independent film is torture with less money and time.

I usually make films with $2 and a paper clip.

After 'Maryada Ramanna,' I wanted to make a quick film on a shoestring budget.

Any asshole can make a good movie for $100 million. I think it's way harder to make a movie with no money, and to start with no contacts and work your way up to international productions.

I'm used to very low-budget situations. In 'The Exploding Girl,' we were literally changing in Starbucks because we didn't have trailers.

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.

When you do a low budget movie, you get a little over-ambitious.

Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'

If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

We embrace the shoestring budget. We like being limited by the constraints. It inspires creativity. I don't know what we would spend money on. We don't hire actors. We see budget constraints as a personal challenge. We're like survivalist local commercial directors.

I still, by and large, make low-budget Australian films.

Most of my comedies were low on budgets - certainly by American standards.

My dream is just to make zero-budget movies for the rest of my life, because I love that environment.

By the time I got to Bournemouth Art College, I'd been so inspired by Sam Raimi and Robert Rodriguez and their tiny, no-budget films that I decided to do a feature-length version of 'Fistful Of Fingers.'

Making an independent film is so different.

I don't choose to make low-budget films. But that is the reality of surviving in the Japanese film industry. However, the trade off is, since we're working on small budgets, we have freedom. You can't buy this freedom with money. With this freedom, I think there are an infinite number of possibilities.

I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.

I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it's great, too.

To make a low-budget independent is not easy work.

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

Independent films now, they want to give you $2 million to make it, 21 days to shoot it and they want 10 movie stars in it.