Quotes About Budget

To make a low-budget independent is not easy work.

You know, because of the lack of budget, we had to find neighborhoods where time had stopped - kind of stuck in the '50s. And no place had that better than Staten Island.

Astronauts have been stuck in low-Earth orbit, boldly going nowhere. American attempts to kick-start a new phase of lunar exploration have stalled amid the realisation that NASA's budget is too small for the job.

The President's call for more math and science students is not being heeded by his party's leaders in Congress. They are cutting over $10 billion from student aide while refusing to fully fund No Child Left Behind. Something doesn't add up.

If you look at the studies coming out of the Congressional Budget Office, the number one thing that's going to blow a hole in the deficit as we go forward 20, 30 years is government spending on healthcare.

The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.

Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.

For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.

With an independent film, you have a little more freedom, and you also have less money, so you're sort of struggling to get it done, to get something that works. With a big studio, everything is there for you, and it's easier.

And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.

A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.

Nowadays the big Hollywood studios only make about three movies a year, and they cost about $200 million each. There's no room for error in that, and not a lot of room, I would think, for free expression.

It's hard to get movie studios to pay a lot of money for movies that don't have robots or explosions.

When I think how art education is eliminated whenever we get a budget crunch in the schools, I have to stand up and say that even when there was dire poverty ten blocks away from Tiffany Studios in the Lower East Side of Manhattan, there was art and creativity within.

A Congressional Budget Office study estimated that gulf energy infrastructure repair costs will be between $18 billion and $31 billion, just from the damages the hurricane created.

Theatres that are stuffed to the gunnels leave me feeling rather peaceful - that's when things are going right. When you're playing to 40% and trying to make the budget, it's more difficult.

I've made some stupid decisions, so I have to be careful. I once said 'no' to a film that was a number-one hit. And 'Date Movie' had the smallest budget of any movie I'd been in, and it went to the top of the box office.

Because we don't have a lot of light, because we have a very low budget, we have to adjust the speed of our camera to get the effect that we want. So sometimes this is the way we work, and the result of the filming becomes a kind of a style.

Major differences in projects happen due to budget, director's styles, and genre of script, not industry.

Tak Fujimoto and I, when we started getting enough of a budget where we could afford the right lenses - 'cause we started out doing low-budget pictures together - we started experimenting with this subjective camera thing. And we kind of fell in love with the idea of using that as our close-up.

Every project that you write about or read about, it goes through years of hard work. We write a screenplay; we design. Then you submit those and the budget, and it's out of your hands.

I would submit a balanced budget if elected president, and it would be painful.

As fighting in Iraq intensifies, President Bush delivered his supplemental war budget to Congress. The money will cover 30 days of fighting, then we'll be sent one war every other month until we cancel our subscription.

Each creative choice you make has 'x' many impacts on budgetary choices, which in turn have 'y' many impacts on your subsequent creative choices. They feed each other.