A Quote by Guy Pearce

The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them. — © Guy Pearce
The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.
The best thing about making films is the time spent making them. When I see works that I've made, I always think what a great time I had making them. The films remind me of that time.
The only way you can learn about making films is by making them, by putting your stamp on the thing.
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'm so sick of independent films being co-opted by Hollywood. You're making a project that's small, really personal, and the first thing anyone asks in any meeting is, 'Who's in it?' I'm like, 'Are you kidding?'
But, I love making independent films. I love it! You create a family, and you sweat, you bleed, you cry, you shout, you laugh and you hug. It's such an extraordinary experience, making independent films.
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.
Maybe I'm more suited to making small independent films.
I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.
I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.
I'm drawn to a lot of first-time directors. One of the great common denominators in these small independent films is that there's a person, or two people, who have an absolutely monomaniacal passion to get these films made. That's what makes them happen. Sometimes, it takes years and years to finally get it done, but by never backing down, by never giving up, they get these films to the screen by hook or by crook.
My films have a bold interpretation. They are unapologetic about showing intimacy. Going by the number of people who come to watch my films, this is what our target audience yearns for.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
The independent films are really where I kind of come from and where I feel comfortable. It's never been about the blockbusters and making a huge tonne of money. It's always been about wanting to do projects about the things that I think are important to be out there.
Oh, I love making independent films, it's such a special, magical thing because you collaborate with a small group of people and everyone's pitching in. You'll see producers setting up the lunch table and the sound guy driving a van. We're all really there because we want to be.
Making movies in France is different, but it's still acting, you know. You still have doubts and you're scared, always, but I really love doing films in America, because I love to speak English. But I think there's something very entertaining about American films. But I also like the intimacy of French films.
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