The awards season gives a chance for independent films to have a bit of longevity in the press and the media.
There is this thing called Actors Access, which is run by the breakdown services. What they do is they put up casting notices that are available to everyone. Because there's thousands and thousands of actors and there are student films and grad student films and, sometimes, some small independent projects that are on there.
Sometimes it's hard for me to tell the difference between independent filmmaking and studio filmmaking because all the studios have these little independent satellites. It's interesting.
There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the film.
I feel like with actors wanting to direct, you really only have a shot or two. You can't just make a bunch of little independent movies, and then finally one gets noticed. You have to make a really good one right away.
I find beauty in a very independent state. It lives quietly. It's there to be discovered.
Fashion is temporary; fashion is a race. What it's doing is giving you something that you say, "This is the outer wrapping of me." Style is something else. It's not quantifiable. Fashion is about selling. Fashion is about what's in. Style is independent of that; style is individual.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
I'm one of those hovering mothers and I know it's really important to have an independent child, so I'm trying to back off, but it's hard. I love him so much, and he's so funny and cute to me.
The nice thing about piracy is, it allows the public to get independent art, to get a variety of music and movies.
If you're an independent, you don't get on TV. And in the rare instances that you do get on, you get a fraction of what that very same movie would get if it came in through Fox or Viacom.
The first time I took acid, I made the decision that I would stay in New York and find an independent film company to get a job with.
It's a lonely world, being independent, and they can come away with the idea that if Lloyd Kaufman can make movies with people getting their heads squashed, with hard-bodied lesbians, women masturbating with pickles, graphic diarrhea, and singing and dancing chicken zombies - if he can do that for 40 years and put his kids through Yale, Columbia, and Duke - if that idiot can do it, anybody can do it.
It's a completely independent atelier and company. We develop the prototypes here. There's a pattern maker, a sample maker, a commercial team, a head of sales, an in-house production team. That's the price of independence. And in the studio I work closely with Sarah-Linh on the collection, and Nao takes care of development.
We call my son's role in the "Lord of the Rings" trilogy Sean's little independent movie.
I love independent filmmaking. I don't agree with a lot of it, but that's the point.
I was in the most restricted prison in China, the most tough. The design of the prison is modeled for internal crimes of the Communist party, so it's like a mafia family's law. It's independent to the law this nation openly applies. It's the place they take you before they give you over to the judicial system. You stay there for a year or two and they make you really suffer to confess everything.
Technology is a liberation. I think the information age probably is the best thing to happen to the human race in human evolution. Now you have the equal opportunity to equip yourself through information and knowledge and express yourself as an independent mind.
Mainstream Hollywood makes a few good movies a year. And in order to be in one of those, you have to be one of five people. Hollywood makes many bad movies too, which I'm not interested in being a part of. But there are only a few good independent movies a year, and many, many bad ones. I want to be in good movies, and I want people to see them.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
There is a straight-forward definition for 'Independent Filmmaking'. The term references a group of films that are financed by money that comes from outside the studio system. In a literal sense that is what it means.
I don't call myself an 'independent filmmaker'. Either a concept works within a studio system or it doesn't. If it does then you should try to get a studio budget so that you can use all of the tools they have to get what you want. If it doesn't then you look elsewhere, or make it yourself.
I would want to make Radio Haiti as independent as possible, which means it can't be strictly commercial.
Sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don't know that, but all those events require a lot of money. If you have a small independent film, it's very hard to get the attention of people in those circles.
Fortunately, I was given an incredible foundation from my independent mother. She showed me what was possible from a strong, loving woman.
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