"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"
About this Quote
There is a weary honesty in Bill Kurtis's line that only a career spent chasing the real world can produce. On its face, he's talking about producers hemorrhaging cash for "that shot" - the perfect image, the clinching moment, the scene that makes an audience lean forward. Underneath, he's confessing a professional addiction: the belief that one more angle, one more flight, one more day on location will turn an ordinary story into something undeniable.
Kurtis isn't romanticizing waste. He's naming a structural problem in visual storytelling. A producer is hired to be practical, yet the job is built around persuading everyone - bosses, funders, viewers - that intangibles are worth tangible dollars. "Always" and "too much" are doing a lot of work: this isn't a one-off indulgence, it's a baked-in bias toward escalation. The phrase "a bundle" is almost folksy, but it lands like a wince; you can hear the spreadsheet screaming off-camera.
Context matters because Kurtis came up in an era when getting the shot meant physically being there: crews, satellite feeds, film stock, logistics, risk. In that world, "production value" wasn't a filter or a plugin; it was a commitment with a price tag. The line doubles as a quiet critique of media's incentives: the camera rewards spectacle, budgets follow the promise of impact, and the line between necessary documentation and expensive obsession gets blurry fast.
It's also a subtle defense of ambition. The shot is costly because attention is costly, and journalists live or die by what breaks through.
Kurtis isn't romanticizing waste. He's naming a structural problem in visual storytelling. A producer is hired to be practical, yet the job is built around persuading everyone - bosses, funders, viewers - that intangibles are worth tangible dollars. "Always" and "too much" are doing a lot of work: this isn't a one-off indulgence, it's a baked-in bias toward escalation. The phrase "a bundle" is almost folksy, but it lands like a wince; you can hear the spreadsheet screaming off-camera.
Context matters because Kurtis came up in an era when getting the shot meant physically being there: crews, satellite feeds, film stock, logistics, risk. In that world, "production value" wasn't a filter or a plugin; it was a commitment with a price tag. The line doubles as a quiet critique of media's incentives: the camera rewards spectacle, budgets follow the promise of impact, and the line between necessary documentation and expensive obsession gets blurry fast.
It's also a subtle defense of ambition. The shot is costly because attention is costly, and journalists live or die by what breaks through.
Quote Details
| Topic | Movie |
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