A Quote by Peter Gabriel

You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get. — © Peter Gabriel
You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get.
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.
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.
An independent judiciary does not mean judges independent of the Constitution from which they derive their power or independent of the laws that they are sworn to uphold.
I should say that being independent in the modern model means independent in a very interdependent world. An independent Scotland is not apart from the rest of the United Kingdom.
My focus as part of the leadership is to keep talking about the independent voters, independent voters - how do we get the independent voters back?
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.
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.
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.
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.
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.
Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.
The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
My forever mission is to take the best elements of both commercial and independent films and bring them together. I learned so much about the art of independent films and I have so much fun in commercial ones. I think that a mix of both is good.
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.
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