Wes Ball Quotes

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

The key, I think, from a business point of view, is to learn how to be efficient in making a record that's not too expensive, so that you're not going crazy spending tons of money making a product that might not ever return that money.

Not all of our movies work, but we take shots, and we're able to do that because we really stick to low budgets.

I got so good at writing to a budget, my brain was restricting myself. I'd write, "It's a stormy night." Then I'd cross out stormy. I'd write: "It's a calm night." Then I'd cross out night. It's noon. Because you know how much night costs. You know how much rain costs. Nothing comes free in movies.

I always believed that you can make challenging films, but they should be fiscally responsible.

The first thing you've got to remember is that it's your clients' money you're spending.

When you're a younger company, you struggle, struggle, struggle with, 'How are we going to pay the bills, and how are we going to hire people, and how are we going to get a bigger office?' Just managing the company is so hard.

I started LearnVest with a tiny savings account where I paid designers, technologists, and even bartered... Because I started with paying for things myself with my own savings, it sharpened my focus of how to spend money.

I've never been that much of a money guy. I'm more of a film guy, and most of the money I've made is in defense of trying to keep creative control of my movies.

It's my responsibility to make the movie work with the schedule and money we have. It's my job to get the best movie we can do in the time we have.

As a producer you have creative control, and that's what is so exciting about it. At the end of the day, if you have made a film it's totally your responsibility, and if it works it's your responsibility and if it doesn't it's also your responsibility.

I never go overbudget on my movies.

Budgets are not bottomless pits.

We are not frou-frou creative types. We have done both sides of the business and are constantly asking ourselves, 'How are we going to pay for this?' But the criteria is that it must fit with our world.

You want to harbor your resources and try not to make a mistake.

I'm always very careful when I'm spending the club's money. I treat it like it's my own, and I always try to sign players for what I feel is the right price.

Make your film for the least amount you can.

I'd love more production houses to encourage artists to create what they want and not just churn things out.

Projects are usually undertaken to either solve a problem or take advantage of an opportunity. The probability that the project - even if precisely executed - will complete on time, on budget, and on performance is typically small. Project management is utilized to increase this probability. So in a sense, project management is risk management.

The Pentagon should use data to guide financial decision-making.

I want to highlight this, that to make meaningful cinema, we really need an enabling environment and freedom to express.

The first thing you need in order to make a business viable is to preserve a cash flow. I made sure I didn't have any financial backing or support.

The goal isn't just to make transactions: it's to make better decisions in the way you run your business. If that's not at the top of every executive's priorities, then they shouldn't be an executive.

One of the degrees I have is in business, and I was a healthcare administrator that ran a 365-bed skilled nursing facility for years and generated several million dollars a year profit for them. So I have a background in business.

The business part of it can be very vexing. You always have to keep certain metrics and everything. Because all I can do is make a good show.