Big Budget Films Quotes

Our entire film fraternity should be proud of 'Baahubali.' These are the kind of films that are not made very often.

Accept it or not, every star, actor, and director wants to work on larger-than-life films.

Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.

Yes, you can have art films about the triumph of the human spirit and all of that, but you'll have it done with a big-budget icon with a $20 million salary. You'll have Julia Roberts, you'll have Robert Redford, you'll have Russell Crowe doing those films, because if they're going to cost $90 million, they're going to make that movie for a public that's very large and mainstream. They're not going to make it for three or four million black people.

The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.

What is generally referred to as American-style films are, in fact, studio productions.

If you wanna be the comic relief in a big-budget movie, go to L.A. because there are five auditions in a week that you could hit up, and that increases your chances of getting those jobs.

What I never want to do is start phoning it in and making things just to show that I can keep my foot in the door and do big movies.

Feature films seem geared toward very large budgets, action, broad comedy. That seems to dominate all year where it used to be relegated to summer.

Disney's clearly in the business of doing giant tent pole movies based on properties that they own. And that's what they should be doing because they're great at doing that.

I really love the independent movies and I just think that sometimes when they throw a lot of money into it and a lot of special effects and a lot of stunts that you lose the connection, the human connection and I personally love movies that are about the human connection.

Many hundred-million-dollar Hollywood comedies aren't any good. They're trying to shock you.

My audience loves seeing me pump large amounts of money into action and sets. And it works. I'm not saying that films made within a budget are wrong. But when audiences come to see my film with their families, I guess they are spending at least 10 per cent of their monthly income. I don't want to cheat them.

The size difference on a Warner Bros. film versus the small productions I had been on in Europe was enormous. You go from 20 people on set to 150.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.

Multiplexes are being very unkind to small films. They are giving a lot more space and value to the big budget films rather than distributing show timings fairly. But that fight will go on.

Every film that gets made, and I'm not just talking about 'Star Wars,' I'm talking about Marvel, DC, every tent pole film - they seem to just keep getting bigger and bigger and bigger and bigger. The worlds get bigger, the stakes get bigger.

That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.

It's certainly a difficult time right now to try to make small, smart films. I'm not trying to be self-serving, but you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy.

Oftentimes, when you have a huge studio film and you have big names attached, they like to keep attaching big names.

Then something fails and they're all out again, but DVD revenue is disappearing, you know, it's not disappearing but it's going off a cliff and what that's done is it's polarized the industry in a way that I've never seen before where studios are making less, they're bifurcating their choices where they're either going very, very big or they're just picking up a few rights on an acquisition basis or making really small things.

Certainly, the Hollywood cinema, there's almost nothing of interest coming out of there.

Obviously, when you get into larger budgets, you have less of that freedom, and I just - I'm not a person that tends to make stories for those larger budgets. To me, it's not much fun to have that kind of pressure.

I'm always looking for a reason to say no when I'm approached about a big studio tentpole because your fear is will you be consumed into the anonymous machine, and it will suck out any specificity and point of view that you might hope to express.

Movies are somewhat diminished by blockbusters, which are great, but there's not enough choice.