A Quote by Rachel True

Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.
I've been blessed in my career to be able to do studio and independent films.
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.
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.
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.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
It's a great luxury for me to be able to write on the films that I direct, and kind of a nice thing to be able to write enough to get credit, which is difficult for a director.
There were two recording studios in Bellingham. One was really expensive, a "nice studio." We were at the point where we were young and irreverent. We would scoff at the idea of a nice studio. "Why would you want to go to a nice studio? Oh wow, they have really expensive gear. Ooh, that's really fancy. Well we've got an eight-track. We've got it going on here." Now that we have the resources, we're like, "Oh wow, a nice studio is pretty nice! They do have nice outboards here. It's actually a pretty good place." It's funny how much changes so quickly.
No. I can quite happily say someone is handsome, good-looking, and I can see why someone would want to f**k them, but I've never felt that way about a man myself. There is that moment in your late teens when you ask yourself the question, 'Am I?' but I wasn'tWell, this year I have a talent crush on Ryan Gosling. I think he's fantastic and(ahem) you know he'd be nice afterwards. He seems smart. If I was gay, I would go for a smart man.
We like the ambiance and atmosphere, and we felt really early that... I mean, of course, Air is an electronic band, but we are doing so many real recordings and the studio is so important for the sound. The acoustics create atmosphere and emotion. Also we want to be independent, we don't want to be obliged to go into a commercial studio and only stay one week because it's really expensive. We want to be able to give a chance to a song, and to spend a lot of time in the studio.
I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.
What's nice about writing and making films is that being able to see a film from the outside - from the inception through production and then completion - just informs what you're doing when you're an actor. And when you're an actor, it informs the decisions you make when you're making a film. It's using two different sides of your personality.
I'm really, really blessed. Not only am I blessed to have found that I love making films, but I'm also insanely blessed to be able to do it. I have to remind myself that when I'm complaining.
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.
Having my first number one single and being able to travel to places I've never been before has been amazing. The tour was also fantastic. There are so many things which I've experienced this year which I never even dreamed of.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
For me, two of my favourite science fiction films are Blade Runner, which is fantastic, and Terry Gilliam's Twelve Monkeys. Both of those were smart science fiction films hitting more of a medium budget, and I desperately hope there is an audience for that kind of film because I would love that to be my next film, on that kind of scale.
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