There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
There's a strange sense of accomplishment in making an independent film. Everything's against you; there's no time, and even less money - you bring a bottle of glue, chip in twenty bucks, and hope you all make it through the day. If you manage to finish it and it actually turns out to be pretty good, it's thrilling.
The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.
I believe I'm doing the right thing in trying to step away from that and to take chances and work on little independent films and do stuff like that wild dance scene.
TV is sort of the only way to go for an actress my age to make a decent salary; with independent films, you just can't.
Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.
The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.
You have the massive world that was created by Marvel, and then you have these very intimate actors around you. There was as much character work on this as there would be on a little independent film. So, I felt very fortunate in that sense.
I was still making movies so it wasn't as if I were working in a bar, but they were independent films that couldn't find distributors.
I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.
And, so yeah, I'll always want to work in independent films because you're not forced into a category or a formula.
The independent films are really where I kind of come from and where I feel comfortable.
I've directed independent film.
People say to me, 'You seem to have made this conscious decision to do independent films'. In reality, I haven't. After each movie, I always think, 'how different can I possibly be? Is this going to challenge me, is this going to inspire me, and is this going to make me love my job more than I already do?'
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
Independent films have a very different cachet than success films.
I am a hybrid. I do independent films and also do Hollywood films - I love them both.
I always went to see independent films, they're the movies I'm usually most excited to see.
It's becoming increasingly harder and harder; there's no such thing as independent film anymore. There aren't any, they don't exist. In the old days you could go and get a certain amount of the budget with foreign sales, now everybody wants a marketable angle.
I like independent films... European films. I do go and see popular films as well because my kids force me.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
I am an independent film-maker first and foremost. I have always cut my own cloth.
I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.
Most of my movies are indies. The best scripts I can find are independent films. But I love big-budget movies, I love craft services!
When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.
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