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.
I came out of independent film, that's my roots.
I've directed independent film.
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.
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 personally like to do independent films.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.
Independent films have a very different cachet than success films.
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.
I am a hybrid. I do independent films and also do Hollywood films - I love them both.
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.
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!
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.
This fall I'm doing something I've never done before. I'm starring in a film, an independent film.
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.
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.
I had not starred in an independent film and it's about a woman who owned a hair salon.
And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.
I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.
Definition of an independent film is torture with less money and time.
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 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.
And, so yeah, I'll always want to work in independent films because you're not forced into a category or a formula.
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.
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