A Quote by Edward Norton
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
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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.
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 had been with the label since I was 21. The label wanted shiny pop but I didn't. I found a little independent and we've got all these great reviews in England and now it has gone gold.
Korean films have always been distributed to international audiences as arthouse films.
I've been blessed in my career to be able to do studio and independent films.
We all liked Elektra because it was a boutique label. 'Oh, my God, we can be on the same label as Paul Butterfield!'
When I was young, I went with my mum to see some really random independent films, which really spoke to me: 'My Beautiful Laundrette,' 'Secrets and Lies'... It wasn't all arthouse, though!
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 feel my fuller-bodied characters are all in the independent films I do, and in the studio productions, I have to work harder to dimensionalize the characters. And that's certainly part of the job description of an actor - that's what you're supposed to do - but you have to work harder at it in the characters that I've encountered in studio films.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
I haven't done a lot of studio movies, but studio movies and independent films are always just as fun as each other.
I know some black actresses who have to wait every 19 films for a role. I can be cast in practically every one as a young white male.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I financed and made my own films from the start. My path has been autonomous and independent, so I don't have any horror stories about glass ceilings and expectations and tense studio meetings.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
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