A Quote by Harrison Smith

As an independent filmmaker, the biggest challenge is finding the money. Whenever you have interest in a film project you need to find investors who are real. I think most independent filmmakers would echo that sentiment.
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.
The biggest challenge is how you get money for independent films, in these ever-changing times when most people don't really want to invest in that anymore.
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.
An independent Ireland would see its own independence in jeopardy the moment it saw the independence of Britain seriously threatened. Mutual self-interest would make the peoples of these two islands, if both independent, the closest possible allies in a moment of real national danger to either.
To make a real independent film where the filmmaker is in charge creatively, one must sacrifice personal, financial, and physical well-being.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
When you're making an independent film, it's like this actor plus this actor equals this funding, this financing. Pull this actor out, this actor is still here but this money's gone. It's this frightening puzzle mosaic that is the world of independent film.
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.
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.
Sometimes the characters I find the most compelling are in independent movies. With independent scripts people can take more challenges.
Instead of dumping all my money on an independent film that nobody would watch and most people would make fun of behind my back, I decided, 'I'm just going to buy a house.'
Rafa is hilarious. He's my fun one. Leo is my real sensitive one; he's so sensitive and so sweet and wants to take care of everybody. Romeo is Mr. Independent - he's so independent. He looks the most like me, I think, because he's got my coloring and, I think, my features a little bit more.
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.
I think independent filmmakers, documentary filmmakers - they are journalists.
The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
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