Anna Friel Quotes

I don't get to make many features. It's not like that's something I can just snap my fingers and make happen.

The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.

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.

Where the material is, that's where you go. I'm a workman: I go to work. I've done movies for nothing, literally nothing; I did 'Last I Heard' for next to nothing.

Usually, I make such small-budget films that I can't afford to buy weather.

The movies I usually do are maybe three or four weeks because they don't have a lot of money.

When you're shooting a movie that's not necessarily a huge budget, you have to think about what you can leave out and still make it interesting.

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.

Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.

When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.

The kind of films I want to make are struggling to get made. And if they are getting made, they're getting made on shoestring budgets with not enough time.

At the end of the day, the less money you have, the easier it is to make a movie.

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.

'Tangerine' was less than half the budget of 'Starlet,' and 'Starlet' was already a microbudget film. A director always wants more time, and we had a limited amount of resources.

I'm not really attracted to action sequences, because my experience is that it's quite a slow process to shoot them, and often we're not involved as actors.

Charlotte Rampling is someone I've wanted to work with for a very long time. I've always looked up to her as an actress and it's a reason why I feel brave to do a film like Melancholia. So, to me she's the ultimate.

I never had the slightest difficulty with a fellow actor. Not until One, Two, Three. In that picture, Horst Buchholz tried all sorts of scene-stealing didoes. I came close to knocking him on his ass.

I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.

I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.

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

A feature film is an expansion of budget, stress, story, hours, time, workload, everything.

It's always a challenge to make an independent film. It's always a challenge to make a low budget film.

I made this movie for $40,000, which was this little black-and-white horror film called Dementia 13, which we made in about nine days.

When you have Ken Jeong naked next to you when you're doing a scene, it's pretty easy to stay loose.

I think great directors really respect their actors and vice versa. That mutual respect makes the job fun instead of anything but.