There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.— Frank Capra
Spectacular Indie Films quotations
I'm not interested in a realistic look - not at all, not ever. Every film should look the way I feel.
I just filmed a movie with my boyfriend, an indie film called 'Conception.
' And it's kind of like an R-rated version of 'Valentine's Day.' So it's like all about eight couples, and me and my boyfriend play one of them together. And that was a lot of fun.
Im gonna try to pay for CLERKS III myself.
As much as I love the crowd-funding model, thats an advancement in indie film that belongs to the next generation of artists. I started on my own dime, and if Im allowed, I should finish on my own dime.
Great moments are born from great opportunities.
Television in the last few years has been where all the great writers are going.
TV now is what indie film used to be.
It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
To make a great film need three things - the script, the script and the script.
I really feel like indie films are where I learn to be a better actor, especially because they always give you a bit more freedom to collaborate.
You gain and lose different things in different mediums or different sectors of different mediums. There are liberties you get on tiny indie films in terms of not having to be designed toward a marketing demographic.
All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.
I was never really a child actor. I was working sporadically in indie films in Pennsylvania, but I was still living at home.
I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.
I started with commercials - for shampoo, pancakes, insurance, Volvo.
I did a Lux soap commercial with Sarah Jessica Parker. And I got a role in an indie film called Satellite that did well in festivals.
Humanizing good people is kind of boring and I don't really see the value in it.
.. humanizing tricky characters is exhilarating, and making audience films out of indie subjects excites me.
People don't know where to place me. Terry Gilliam used me as a quirky cop in 'Twelve Monkeys', and then he hired me again to be an effeminate hotel clerk in 'Fear and Loathing in Las Vegas'. Another time, I was shooting this indie film 'The Souler Opposite' and six days a week, I'm playing this big puppy dog, then I come to the 'NYPD Blue' set and become this scumbag.
With indies, all they have is their script and it's very important to them.
The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
Indie film isn't dead, it just grew up.
Look: You're not gonna become a millionaire doing this, but that was never the point. And I think a lot of people in the indie film business kind of took their eye off of that.
There are roles out there I want to play that I don't know if I'll ever get the chance to. But I'm not going to waste time waiting for those phone calls, passing up the chance to do these sorts of things. I'm more likely to go see a smaller, darker indie film, like Felony for instance, than I am to see an Avengers or perhaps even a Terminator.
It's not like it's not fun to work on big studio pictures.
It is. But I can't say that's more fun than working on some little indie for scale. Look at The Amateurs, that's probably the best time I ever had working on a film. With that group of guys, it ended up being an experience I'll never forget. I'll always have the fondest memory of that shoot.
I think the work is the same in Indie films or blockbuster.
It's just a difference when you do all the publicity. It's like another job. I remember the first time I did The Dreamers. I went to Venice; quite a good amount of publicity, a lot of round-tables and TV. I was just not expecting that. I thought I was going to visit Venice, but actually no.
There's something different about an indie film than a TV show that has a huge infrastructure that's in place already for you - at least financially and in terms of distribution. Whereas an indie film is just a total dare.
When you're on a lower-budget film, with one guy who maybe has a camera strapped to him, you're a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that indie movie pie. And I feel like, first of all, there is a real freedom that you feel from that, because it's like, you know what, if this is terrible, nobody's gonna ever see it, so I can be more brave.
If you do an indie film, where it's like, "We don't have a lot of money to give you, but we'll really give you a lot of freedom," that's really a luxury to have in this business. At least for myself, because I'm still kind of earning my acting credibility.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
I've always done indie films, but things started picking up more for, for a lack of a better word, more professional things.
We thought by setting the film ["Selling Isobel"] in the cloak of.
.. let's call it an indie-Hollywood thriller, it would appeal to a wider range of young women who would see this cautionary tale and say, "Hang on, I've got to think twice about what I get myself into."
I did a film [about a con-artist mom and son] called Bringing Up Bobby that Famke Janssen wrote and directed. No one's gonna hire me for their [big-budget] romantic comedy, so it's up to me to look out for great indie comedies and show people a different side of myself - even if it's for three people outside of my family.
If you're doing an indie and you have time, sometimes you can do take after take after take, but if you're working in television on that filming schedule, you don't always have the time to do that. You learn very quickly, I think, how essential it is to come in with the strongest choice that you have.
The only reason an indie gets made is because someone has a burning passion to do it and won't take no for an answer, as opposed to a big film, which is like a train that starts rolling down the tracks and nothing can stop it.
Licensing is how indie rock people make a living these days, so whatever about that. But I want good films and good placement for the songs because I want to be exclusive. I don't want to just sign it away because I don't want songs to lose meaning, but I'm also...I don't care [that] Wilco sold songs to Volkswagen. That's great. They probably drive Volkswagens.
I grew up in the indie world and that's what I'm used to, but there's something really incredible about having money behind a film and having the time to do as many takes as you want.
My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities.
We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.
Generally, an indie film in the U.K. is put together much like in the states. We got a tax credit. You sell the domestic rights, which can be quite low, but it's enough to push you over the line. And you get a tax credit on top of that, and then you cobble it together with private equity or gap financing and things like that.
The good thing about the studio is that, when the movie comes out, they will put their marketing and their money behind it, which isn't necessarily true with indie movies, just by the nature of it being an independent film.