Top 40 Low-Budget Quotes

That was the magical thing about the Seventies: artists ruled. Because films were relatively low-budget, nobody cared. We could just go off and work.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

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

I learned from making a few of these low-budget videos early on that the best way to go about doing it is just to keep it honest and real.

What’s frustrating to me is when, on a low-budget movie, people don’t take chances. A big-budget movie, that script’s your bible; nobody’s going to risk going off the page. But when you’re doing a very low-budget film, why not take some chances, intellectually, artistically?

My feeling is, I do a lot of low-budget films. I don’t do low-budget acting. I have no interest in just goofballing my way through, thinking, ‘Ah, no one’s ever going to see this anyway.’

The ‘Damsels’ crew was low-budget, young people who were doing their first thing almost. A lot of it. It felt like Pied Piper or Rumpelstiltskin or whatever: it was me and people thirty years younger or more. But it was great; it was really fun.

A lot of low-budget genre films you see are horror movies, because horror is the friendliest movie to lack of money.

I’m willing to give up a little control but not a lot. So I say I want the money, but when push comes to shove, I’m not sure I’ll be able to compromise in order to make the big studio movie. Maybe something in between would be okay, like a low-budget studio film.

The reason I took Early Edition – besides the fact that I liked it – was that it enabled me to start a production company in New York City. It’s a low-budget film company to produce and direct movies.

Typically, with low-budget stop-motion, you can get away with a cartoony style.

One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.

Mid-range to low-budget movies have to have a name in the lead to get financing for it.

My friend James Cameron and I made three films together – True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.

I auditioned for ‘Moonlight’ without knowing anything. I went in the room, and I didn’t know the lines as well as I should have. I didn’t know a thing about the script. I wasn’t told anything. I heard it was a low-budget film, and my agent told me to do it. I was super-ignorant to it.

Comedy fans are the best fans. They embrace and support you doing low-budget work and will follow you to the end of the earth!

I wanted to try every style available to me – large productions, small productions, studio films, low-budget. You just can’t sit around and wait for every big-budget film to come along.

It’s nice that established and emerging stars agree to appear in ambitious low-budget films. Such pro-bono work gives the movie a higher profile and the actors a potentially more distinguished resume.

Oh yeah – for sure – hardly a week doesn’t go by when I don’t hear something wonderful that someone has made in some low-budget situation, primarily with a view to selling a few hundred copies at their concerts.

I just like to do work that inspires me, and I don’t pay any attention to whether it’s a high- or low-budget movie.

I love low-budget projects with great acting and great stories you can really get your teeth into.

Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses – ’cause we started out doing low-budget pictures together – we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.

I have a theory that there’s almost this primal viewpoint on women in the business, that once you’re beyond childbearing age, you are perceived as nonthreatening, nonsexual, noncastable. Sure, I already knew it before I got into it. I just didn’t know I’d end up making my living from low-budget, independent films.

I need three million dollars to make a low-budget, intellectual, artistic, exciting, erotic movie with a great soundtrack.

I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted ‘Tsotsi,’ so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.

I tend to make low-budget movies but, yeah, I make more money than I ever thought I would make.

Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.

‘Eagle vs Shark’ was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.

My father was a low-budget monster movie maker, so he made classics like ‘The Crater Lake Monster.’ There were always creatures around. And my dad was a huge fan of Ray Harryhausen. One of our neighbors, who went on to win several Academy Awards, was close friends with my dad. His name is Phil Tippett.

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’m always looking for a low-budget script with an interesting character to play.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I’d give it my best shot.

I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.

I’m like the king of the low-budget sequel. People ask, ‘What film are you gonna do next?’ ‘I don’t know, but it’s probably got a 3 or 4 in the title.’

I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I’m proud of, but I also want to make a living.

I’ve had weird, weird acting jobs. Low-budget filmmaking where you find yourself in really bizarre places.

One of the benefits of doing low-budget movies is you don’t have to release them wide to recoup. You can release it in a smaller way, make your money back, and keep going.

I had fun doing a lot of low-budget movies and web series. And I got back into stand-up where I started.

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

You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.