Top 1200 Independent Film Quotes & Sayings

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

There's no independent satisfaction without the success of the film itself. The feel that you have done the best you can to support the film.

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.

I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.

To be honest, you have to do a big Hollywood film to get enough money to do a good independent film!

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.

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.

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.

But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.

The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.

There aren't many American directors here trying to direct a Japanese yakuza film. When you combine that with the fact that I don't speak much Japanese and this was an independent film I was financing myself - people were curious about what I was doing.

I should say that being independent in the modern model means independent in a very interdependent world. An independent Scotland is not apart from the rest of the United Kingdom.

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've always felt that an independent film is a film that almost doesn't get made.

I would define independent film as a movie that is not financed by any of the smaller film companies. Because then, those are movies that in all likelihood are made without stars. And then they have to rely just on the material.

It'll be the Internet and piracy that will kill film. There's a philosophy that the Internet should be free, but the reality is that piracy will destroy the film industry and film as an art form because it's expensive to make a movie. Maybe you'll have funky little independent movies, and it'll go back and then start up again some other way.

I came out of independent film, that's my roots.

At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

Independent film is for actors that love to act.

Being a part of independent-film world, the independent-film community, that's what you do. You support each other. If someone's doing a movie and you trust them, you roll the dice. Sometimes it's gonna be good, sometimes it's gonna be something that's like, "Oh I don't know what the hell that is." But I've been more fortunate than not to have it work well.

There's plenty of great independent films to do, but you can't support yourself making independent film as an actress.

I came out of independent film, that's my roots. I used my independent film as a laboratory, and used what I could discover in that laboratory.

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.

I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent features is that they are hard to sell.

When I hear the word independent I reach for my revolver. At this point, what the hell does that mean? The English Patient is an independent film... Hootie and the Blowfish are alternative music. I'm the Queen of Denmark. I don't know what it means anymore.

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 lifeblood of my career has been independent film.

This fall I'm doing something I've never done before. I'm starring in a film, an independent film.

Part of the excitement of doing independent film is the complete unknown of what lies in store for the film's future.

There's a big difference between the independent film world and the Hollywood film world, and I don't know that I understood that until I got into certain rooms, and people's faces go blank when you talk about Sundance.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

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.

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.

For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.

The film division at Amazon is made up of true cineastes who love movies and really want to try and provide opportunity for independent film visions to find their footing in a vastly shifting market. They love cinema.

With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.

Making an independent film is so different.

People in independent film have a passion; they're not in it for the money.

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.

There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.

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.

Theres plenty of great independent films to do, but you cant support yourself making independent film as an actress.

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

The movie industry has collapsed into two types of film - the $100 million blockbuster or the small independent film of $1 million or less - and the huge middle ground has been lost. Cable is filling that void.

I've directed independent film.

Independent film is film that has thought in it. There's no independent thought in studio films. It's collective thought.

I'd like to do an independent 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.

Making an independent documentary film is so hard that usually, the usual model is that your film becomes a model for advocacy, so you can enlist that support group and get as much juice out of your film as possible. That's just practically, financially, what you need to do.

And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.

You can't print everything and that's not good for filmmaking, because you wanna have as many options as possible and print as much as you can, but if you're going to shoot a film - an independent movie on film, the only way to really do it is to print your selects.

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 did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.

I've done a lot of independent film, which are short shoots that are usually four to six weeks, max. I enjoy everything. After one particular experience of work, I like to go in the opposite direction and do a short film, or something else.

It's a unique experience when you're doing an independent film where you have one person who puts up all the funds to make the film.

An independent judiciary does not mean judges independent of the Constitution from which they derive their power or independent of the laws that they are sworn to uphold.