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My taste in watching things runs from dramas and low-budget films to high-end fantasy/science fiction.
There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.
My father was a low-budget monster movie maker, so he made classics like 'The Crater Lake Monster.' There were always creatures around. And my dad was a huge fan of Ray Harryhausen. One of our neighbors, who went on to win several Academy Awards, was close friends with my dad. His name is Phil Tippett.
Work is good when people are responsible, and in low-budget movies a lot of the actors don't want to be there. They're there to build a resume.
Certain actors wanna get paid, they think working in a low-budget movie is being ripped off. But for others it's like, 'Yes, let's do it.'
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
I'm used to very low-budget situations. In 'The Exploding Girl,' we were literally changing in Starbucks because we didn't have trailers.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
My friend James Cameron and I made three films together - True Lies, The Terminator and Terminator 2. Of course, that was during his early, low-budget, art-house period.
I love low-budget projects with great acting and great stories you can really get your teeth into.