A Quote by Sheryl Lee

I did a few independent films, but there is no money in them. — © Sheryl Lee
I did a few independent films, but there is no money in them.
I've made a few independent films now and a few movies with Disney, and I've done TV.
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.
When I started out in independent films in the early 70s, we did everything for the love of art. It wasn't about money and stardom. That was what we were reacting against. You'd die before you'd be bought.
When I started out in independent films in the early '70s, we did everything for the love of art. It wasn't about money and stardom. That was what we were reacting against. You'd die before you'd be bought.
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.
As far as acting in films, there is not much out there that is very interesting to do. The ones that are interesting to me are independent films and they have trouble raising money. With people putting their money into blockbusters, there is not much left for the independents.
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.
To take a few nouns, and a few pronouns, and adverbs and adjectives, and put them together, ball them up, and throw them against the wall to make them bounce. That's what Norman Mailer did. That's what James Baldwin did, and Joan Didion did, and that's what I do - that's what I mean to do.
As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.
I don't bother about trivial issues. I am the master of my time. I decide how I spend my time. I act in a few films, produce a few of them, and direct a few films.
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.
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.
I don't see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.
I am a hybrid. I do independent films and also do Hollywood films - I love them both.
Independent films have a certain freedom about them - there isn't so much at stake in terms of money. I think they're more interesting because they're not watered down to appeal to the masses. They tend to have a unique voice.
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.
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