A Quote by Andrew Neel
There is a straight-forward definition for 'Independent Filmmaking'. The term references a group of films that are financed by money that comes from outside the studio system. In a literal sense that is what it means.
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Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.
Sometimes it's hard for me to tell the difference between independent filmmaking and studio filmmaking because all the studios have these little independent satellites. It's interesting.
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 think, honestly, that the word 'indie' is a false gimmick. 'Independent' used to mean a movie that was financed outside corporate Hollywood, but a lot of what gets called independent these days is totally produced within that system. And there's nothing wrong with that.
You earn very little money on independent films and I'm the provider for my home, so I do have to think of taking one for the accountant time and again and that means studio pictures.
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.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
The term "globalization," like most terms of public discourse, has two meanings: its literal meaning, and a technical sense used for doctrinal purposes. In its literal sense, "globalization" means international integration. Its strongest proponents since its origins have been the workers movements and the left , which is why unions are called "internationals", and the strongest proponents today are those who meet annually in the World Social Forum and its many regional offshoots.
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.
In the '90s, indie movies could get financing, because financers gave money straight to directors... Now it's a different system. Indie movies got co-opted by the studio system.
I've never done a studio movie, let alone worked for a network. Every one of my films has been independently financed.
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.
Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.
If you have reservations about the system and want to change it, the democratic argument goes, do so within the system: put yourself forward as a candidate for political office, subject yourself to the scrutiny and the vote of fellow citizens. Democracy does not allow for politics outside the democratic system. In this sense, democracy is totalitarian.
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 thought I was going to be a rapper as a kid and used to hop the train down to Jazzy Jeff's studio for, like, six months straight waiting outside of the studio for the big break, and one day we got in the studio and played our demo for Will and Jeff and quickly learned that we weren't that good.
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