Low Budget Filmmaking Quotes

The person who goes to the Troma movie knows that he or she may love the Troma movie or, he or she may hate the Troma movie; but the movie goer knows that he or she will never forget the Troma movie.

Everything in The Room, we did it the same way the big studios do it. The only difference is the budget and the actors. We put an ad in Back Stage West and in return we got almost 8,000 headshots from people who wanted to be in the film. We then do a process of selection and a rehearsal process after they are selected. The process of audition is very time consuming.

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.

We made this movie for $17, and nobody got anything. So it never dawned on me that we would get real people.

Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.

Doing the big budget films really makes you appreciate doing movies like Shelter. It's because this is like doing theater, you just have to hit the ground running

I usually make films with $2 and a paper clip.

Everybody's got to work with Roger Corman. You can't leave out that experience.

Somehow, even though you have less time and less money, the thing about making indie films is somehow you have another kind of resource: a human resource, where you can really look to your creative colleagues and actually ask questions that are honest.

You don't have to spend $200 million or $100 million to make a great movie.

Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

Because of the cumbersome nature of filmmaking, it's only recently that it has become available to the masses, with digital equipment and laptop computers. You can now actually make a pretty serviceable movie for very little money by yourself.

Independent filmmaking has always been there and it's not to be forgotten.

When I was 25 years old and had no money - and didn't know how to make movies and had no experience - I was able to get $25,000 together, and that film was 'The Brothers McMullen.'

Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.

With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.

I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.

In lower budget filmmaking, everything is a favor. You're pushing everybody, all the time. You're trying to get the best out of it that you can, and it has to be a labor of love, or you can't get it done.

We didn’t want to disrupt the creative process. We have the chance to make the films we want because the films are not expensive. It’s very rare to be able to do that. It’s completely pure.

They all want you to make a movie for under a million dollars, which I don't want to. I don't want to be a faux radical film-maker at 70. I did that. I don't need to do it again.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

There are a lot of parallels between doing a sequel and doing low budget movies, which is they give creative parameters. As a creative person myself, I work better with parameters as opposed to anything goes.

I do love directing. I'm only comfortable working in the independent film arena for a very small budget where I have creative control and I can put my stamp on it.

I've made movies that cost less than one car chase.