A Quote by Bill Murray
I love the financing. It's fun to do studio movies, too. I think you should do both. You don't want to be this, "He's an independent film guy." It sounds like, "He makes his own dresses."
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The way financing for independent movies goes is great. You get the money from the guy who's actually doing the distribution in France. You say, "Do you want a piece of this movie?" And he's got to sell this movie to get his money back. That's the brains of it; that's the genius of this financing. "You want Germany? Give us a million dollars and you've got Germany."
Studio movies are looking more like independent movies and independent movies are looking more like studio movies, and I think cinema is better now because of it.
I haven't done a lot of studio movies, but studio movies and independent films are always just as fun as each other.
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 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.
I love black dresses. I think everyone should own a lot, but black dresses don't sell online because on the computer they don't read like anything.
I definitely want to study film. I'd like to have my own studio one day and just make a lot of movies.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
When you're making an independent film, it's like this actor plus this actor equals this funding, this financing. Pull this actor out, this actor is still here but this money's gone. It's this frightening puzzle mosaic that is the world of independent film.
I like to think I'm making films in the film business where movies are making enough numbers for the studios to let me keep working, but you also want those films to have content that makes you proud you made the film. That's not easy, but it's a fun puzzle to figure out.
I did my friend's film - this guy Harrison Atkins who's a great filmmaker. He just makes movies with all his friends, and I think that's all what we're striving for - to feel like we're among friends and people who care about each other. I'd like to think that good work comes from that - from a sort of loving and friendly environment.
In another time, another world, each studio made 200 movies a year and had 20 executives. Today, a studio makes less than 20 movies a year and has 500 executives. They own too many parking decks and too many billboard companies. They're awash in overhead, and it's pinning them down, and they know it.
Film is a wonderful thing and it can be so many different things. I don't want to turn my back on any of the different ways movies can be. I love the movies. I love going to the films. I like very serious films, I love foreign films, and I love big, fun movies - as long as they're well made and they've got good scripts. That's the most important thing.
A lot of people get stuck, like, "Oh, if it's made by a studio, it can't be independent." Often they link it to the source of financing, or how it's distributed, but I don't really know how you can. A filmmaker will take his money from anywhere. It doesn't matter.
Yes, you want to do studio movies, but I also want to grow as an actor, and an actress like me is not going to get roles where you grow and evolve in a studio film. It's just not gonna happen.
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.
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