A Quote by David Boreanaz

I'd like to do an independent film. — © David Boreanaz
I'd like to do an independent film.
Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.
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.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
Being a part of independent-film world, the independent-film community, that's what you do. You support each other. If someone's doing a movie and you trust them, you roll the dice. Sometimes it's gonna be good, sometimes it's gonna be something that's like, "Oh I don't know what the hell that is." But I've been more fortunate than not to have it work well.
I do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.
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 mean, I made The Phantom, although The Phantom was, believe it or not, an independent film. It was just a very large, expensive independent film.
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.
The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.
When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.
I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.
I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent features is that they are hard to sell.
There's plenty of great independent films to do, but you can't support yourself making independent film as an actress.
Theres plenty of great independent films to do, but you cant support yourself making independent film as an actress.
I came out of independent film, that's my roots. I used my independent film as a laboratory, and used what I could discover in that laboratory.
This site uses cookies to ensure you get the best experience. More info...
Got it!