A Quote by Parker Posey
In the '90s, indie movies could get financing, because financers gave money straight to directors... Now it's a different system. Indie movies got co-opted by the studio system.
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Indie movies got co-opted by the studio system. The studios insisted that only stars could make movies successful.
I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.
I don't think of the 'indie film world' as this cohesive kind of world anyhow. It's so disparate: all these different filmmakers seeking financing from many different sources to make different kinds of movies. It's hard to pinpoint a trend, really.
Early on it was much easier to play leads, but now independent movies are being co-opted by the studio system, and they want bigger names to guarantee more audience and more numbers.
Like all artists, I'm a complete cinephile; I see everything. I see past movies, present movies, indie movies, experimental movies.
When we opened Babbo, we were an indie band. Now we're kinda Apple. We have 19 restaurants and 2,800 employees, we are no longer perceived as the indie band although we think of ourselves as the indie band, and we operate our restaurants as individual indie bands.
The good thing about the studio is that, when the movie comes out, they will put their marketing and their money behind it, which isn't necessarily true with indie movies, just by the nature of it being an independent film.
During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.
The '90s were just such an amazing time for movies. There was more money in movies and you could get away with things.
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.
The studios insisted that only stars could make movies successful. And that was the real disappointment of the time. You'd see great writer-directors in the '90s becoming part of a system where financiers and movie stars could change the material. I came along just before all that happened.
It's a long process transitioning from indie to mainstream, and it's not that easy because it's a different environment when you are in the indie industry.
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.
I've had this opportunity to get some of my financing out of Europe, which has helped tremendously, so I'm not completely dependent on the studio system or on U.S. financing.
My way of dealing with not really fitting in at my very crappy New England high school and junior high was to write sketch comedy and satirical takedowns of the social hierarchies. At the same time, I was developing a love for movies at the height of the '90s New York indie movie explosion: everything from 'Rushmore' to Nicole Holofcener movies.
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."
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