A Quote by Zoe Kazan

I don't want to do every independent film offered to me. — © Zoe Kazan
I don't want to do every independent film offered to me.
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.
'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
I can't take up every film that is being offered to me.
I think you're stereotyped after every film. Post 'Dev D,' I was only offered bold roles. Similarly, after 'Margarita With A Straw,' I was offered roles where I had to play differently-abled people. So, no matter what type of film you work in, people tend to slot you.
I can't accept every film that is offered to me. Not all of them interest me.
I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.
I can't wake up every day and not thank Sundance. They're a great beacon of light for any independent film. Just to have a film that you made shown on a screen for an audience in a theater is beyond me, so I owe them everything in the world.
The challenge is when you're offered similar roles, and you have to play them differently. I don't want people to say, 'She performs similarly in every film. There is no versatility.'
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.
Every successful high street needs a catalyst that starts making people want to come there, and independent shops can be that catalyst. If you want a new idea on the high street, you'll probably find it in an independent. I know I shouldn't say this, but new ideas rarely happen in chains. What we do is adopt it once we spot it in an independent.
I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.
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.
I mean, I made The Phantom, although The Phantom was, believe it or not, an independent film. It was just a very large, expensive independent film.
Lovers offered only what they offered and nothing more, and what they offered came with provisos: believe what you want and don't look carefully at what isn't acceptable to you.
I feel Bengali directors have offered me characters which have a story to tell and not just impress people because of what I wear in the film. That's the kind of roles I want to do.
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