Dana Carvey Quotes

I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.

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

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.

One of the things that's, I think, hard in television is that there's a certain sameness to a lot of television because you're working in a very constricted box, and the box is defined by the amount of money you have to spend and the amount of time you have to get ready.

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.

I think that when you're doing an under-four-million-dollar movie, you just can't throw money at the problems.

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

You have to shelve a lot of your inspiration. There's only so much you can do with one record.

Shooting in Hong Kong, you can do whatever you want, even change the script every day. In Hollywood, you have to have a lot of meetings.

I've had some of the best craft services on independent movies, actually, because they get more creative, generally, with a smaller budget. The work is still the same. I didn't really notice the difference other than I was getting dressed behind a curtain, basically.

When looking at any significant work of art, remember that a more significant one probably has had to be sacrificed.

Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.

The only film I ever made for money was something called 'Music From Another Room', which I really didn't like.

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.

That's the thing about making a movie: You never finish editing. They just take it away from you.

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

What happens with artists, or people who start off doing things for the right reasons, is that you slowly start to paint yourself into a corner by doing what people outside of the creative world are asking you to do, and I think that's antithetical to being an artist.

When you don't have time, especially for a director, you cannot do exactly what you want to do. You have to cut your dream to fit in the movie you're doing.

There's so often - in filmmaking, you're backed into something that already has these set parameters, whether it's a sequel or a book that people love.

I've worked on so many films where the script is one thing and then, somewhere down the line - on set, sometimes - it changes, and there's zero I can do about it.

'Short Term 12' was such a marathon. It's like trying to convey the same emotional depth as 'The Gambler' but with less time and a fingernail's worth of the budget.

I didn't have the kind of budget to compete with the big studios, therefore I had to make my films more outlandish, more outrageous.

You can't make two films at the same time.

I think, in general, independents don't have a lot of access to really good scriptwriters or actors or actresses, so they're very limited in what they can do.

I have a pile of scripts at home that I love. Some of them are hard to get made. We have to give up stuff. It's hard to get movies made.