A Quote by Trieste Kelly Dunn

I definitely want to continue working in independent films - and big budget stuff as well - but there's a freedom you have when you're not getting paid. It's easier to say no and there's no pressure to please the powers that be. Also I don't have to hear 'flirt and smile more.'
I do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
My goals are to continue acting and also to produce some independent films in the next few years. Music is a passion of mine, so I also want to continue along that path, creating with my friends.
I like working in both movies and television. Television is faster, not very much rehearsal and a lot of material is shot in a day. Big budget movies are luxurious in terms of the schedule. Independent films often shoot fast as well.
Bigger-budgeted films have more restrictions and less freedom to create. Because of this, I try to find freedom in the people I work with. I often work in ways I don't want to. It's more about controlling the situation. Lower-budget films are freer.
With an independent film, you have a little more freedom, and you also have less money, so you're sort of struggling to get it done, to get something that works. With a big studio, everything is there for you, and it's easier.
This is a wrong notion that I work in big budget films. Infact, usually low budget films are offered to me, they come and say it's a good story but they don't have the money.
If I'm going to do a big film, I'm very choosy about what I do, because I think I want to continue - in fact I'm sure I want to continue - to stay in the realm of independent films with directors and writers who are just emerging with new ideas and a different vision that hasn't really been expressed yet.
I suppose it's nice that I've made films that some people have heard of and respect. That's great. And it's certainly helpful in some regards, but they're really tough economic prospects. They always have been, and that's not necessarily getting any better. And not just the films, but it's also been a rough 10 years for that independent film market. And so I have stumbled onto this point in the timeline where the kind of stuff that I'm trying to do is not... it was a lot easier to know what to do with it 20 years ago.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
After six years of working on low-budget independent films of the too-weird-to-watch variety, being asked by DreamWorks to come and play with the big boys, it was like finding an unicorn in your sock drawer.
I sometimes hear people say women don't want to direct studio films, but I do. I want to direct big films, little films, TV. I want to do it all.
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.
We all flirt. When I go into a meeting with new clients I flirt with them; when I want 20p off a hamburger I'll flirt with them. It's not about being sexual - it's about getting someone's attention and getting your own way in a seductive way.
Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.
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