A Quote by Freddie Fox
Most of the independent films I've been involved with all had European subsidy or co-production agreements.
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I like independent films... European films. I do go and see popular films as well because my kids force me.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.
By...WWII, I.G. Farben had become...part of the most gigantic and powerful cartel of all history...interlocking agreements...over 2,000 of them...In the US, the cartel had established important agreements with
The commercial and subsidised theatre are intrinsically linked. I wouldn't have had the career I have had without the opportunities I had through the subsidised sector. However, I do think, in any walk of life, subsidy for the sake of subsidy is not always healthy.
When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.
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.
There are five different ways you can do it. You can do it through not giving them the subsidy that we pay them. You know, we pay Mexico a subsidy. I don't know if you know. But the whole thing is ridiculous. We're paying everybody subsidy. We actually have a small portion of China where they get a subsidy from us because they haven't ended it for years.
Independent films, for the most part, to me, are not so independent. They often feel like people auditioning for a big commercial career. They often do not have independent spirit to them.
Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.
It's a privilege to be able to be involved with people as talented as the people I've had the luck to work with, and it's just been a great experience for me, and I'm glad that so many of the films I've had the luck to do were films that could be enjoyed by families together.
Governmental subsidy systems promote inefficiency in production and efficiency in coercion and subservience, while penalizing efficiency in production and inefficiency in predation.
For more than 220 years - from the 1620s to the 1840s - most American schooling was independent of government control, subsidy, and influence. From this educational freedom the American Republic was born.
I used to do lots of independent films and for a while I was very content living in New York City and doing independent movies and off-Broadway theater. I loved it, I had a really good time doing that, and I worked on a lot of projects that are very dear to my heart, both plays and films.
I have always been very much involved in the pseudo biological cycle of production, consumption and destruction. And for a long time, I have been anguished by the fact that one of its most conspicuous material results is the flooding of our world with junk and rejected odd objects.
At one point of time, most of my films were successful, so I could have launched a production house. But had I done that, I would not have grown as an actor.
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