Indie Films Quotes

I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.

Maybe I could do some indie film and get my kit off. I'd never say never.

I've always done indie films, but things started picking up more for, for a lack of a better word, more professional things.

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.

I would love to dive into an indie film based on the streets of East Los Angeles where I grew up. If that doesn't come my way soon, I think I just might have to write it myself.

I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.

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.

It is hard to come up with ideas that are achievable on a scale that you know you are going to have for an indie film but it also have some kind of hook.

Indie film isn’t dead. It just grew up.

Television in the last few years has been where all the great writers are going. TV now is what indie film used to be.

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.

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.

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.

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.

I would be perfectly happy doing an indie film that had some really cool creative ideas.

Books are great for if you want to work on the craft of writing for yourself, or, you know, to write novels or indie films, stuff like that.

Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.

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.

I was never really a child actor. I was working sporadically in indie films in Pennsylvania, but I was still living at home.

I think people are willing to take more of a risk on an indie film, about character, etc...but at the same time, when I work on projects that are substantially bigger, in a way they do feel small. Even though the catering is way better and we actually have someone shooting with real film.... The budgets are bigger but the story still feels small, like an indie film.

There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.

When I lived in New York, there wasn't as much TV or film around. I got asked to do a couple of indie films, just based on me being from The Smashing Pumpkins and A Perfect Circle. I did a couple of indie movies from Japan and one from Canada, and I thought it was an exciting, fun thing to do. I had a great time doing it, it was just that, in New York, there really wasn't as much. My studio in New York closed, so I moved out to L.A. and just started looking into composing as another thing to do, as a musician. I like it a lot. It's fun and it's a different way of thinking about music.

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.

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.

I've done a lot of very low-budget indie films, so it was just really exciting and fun to be doing a film where there's a lot more time and these huge, vast sets. I was like a kid in a playground. It was amazing!

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

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!

You know, the people who do indie film and decide who gets those little budgets? They're mean, man. They're cold and very cool-oriented.

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.

I was the female lead in a romantic comedy. It's a little indie film that we shot in China called 'America Town,' starring Daniel Henney and Bill Paxton. I actually had to speak Chinese in the film. It was funny because I found out I was doing the film and then a week later, I was in Shanghai.

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.

Digital also had this evolution that came out of post-production. And George Lucas did it because he wanted to make a big movie with special effects. Sort of the opposite of what you'd think is an indie film. So it's coming from both these angles.

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.

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 believe in Mexico there's a big culture of moviegoing, both studio and indie. I think here in the US that's not the case because Latino communities don't have access to indie films. If you go into communities of color you will only find the big theater chains which only play the blockbuster genre films.