Production Budget Quotes

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.

Movie promotions - as with all business, it is an important part of any release because of the inherent high financial risk, and sometimes they tend to equal anywhere between half or three times the production budget.

The trend now is to shoot in Canada because it's cheaper, and they don't care what the location is.

'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.

On a TV show, for instance, dancers have to be paid for a week and a half rehearsal time. So unless they're vital to a production, they're just not used.

It's really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.

It was somewhere in doing the last season of 'Leverage' that John Rogers and I became confident that we had developed an all-new production technique where we could put more on the screen with very little money. So we started to get more comfortable with the idea of trying to tackle 'The Librarians.'

You know, dramas are much more expensive to do than say a comedy, so any kind of deficit like that is picked up on when it comes time for them to pick up new shows.

It's hard to get personal films off the ground, and it's hard developing them.

He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.

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

Generally, an indie film in the U.K. is put together much like in the states. We got a tax credit. You sell the domestic rights, which can be quite low, but it's enough to push you over the line. And you get a tax credit on top of that, and then you cobble it together with private equity or gap financing and things like that.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

It's fine to do movies and say, 'We made big grosses,' but you've got to go back and ask, 'How much did it cost?' and 'Where do you make your profit?'

If it was a risk, I wouldn't have done 'Baahubali.'

It's hard to get movie studios to pay a lot of money for movies that don't have robots or explosions.

Success of a film has got nothing to do with whether it's a remake or an original.

I guess HBO did a giant 'War in the Pacific' mini-series that cost, like, a fortune, and there was a little moment where they literally had no money. And even though the show had become kind of a cult hit, there was an issue of whether they could actually afford to do it.

You've got to be able to make animation for much less... Less is not the studio's way.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

To make a documentary is one thing, to make a feature film is quite another.

I have a couple screenplays that are done, and I'm looking for the right people to help me make them. I do a lot of television writing to develop new ideas for shows.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.