Top 1200 Indie Films Quotes & Sayings - Page 18

I've made a lot of stupid action films in my life but I like stupid action films and am kind of proud of them.

Like most people, there are things I love about Amazon. It's cheap, it's fast, and it's at my doorstep. But Amazon will never replace the important role my local indie plays in my community.

After watching Guru Dutt's films, I became a huge fan of Sahir Ludhianvi's poetry and the songs of Guru Dutt's films.

My mother never told me anything, she is just concerned about my happiness. She only watches my shows, not my films. In fact, we never discuss films.

Bollywood is such a space where you get to work with so many genres. Genres being pushed isn't the way of looking at it. In fact, I think Indie needs to be given a lot more focus or recognition.

The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.

If you are a superstar, or whatever you want to call yourself, a person who's had outrageous success, and you decide to go indie and tell the record companies to screw themselves? That takes a certain amount of courage. And bullheadedness, really.

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.

Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.

I've always had the perspective that roles come into my life when I need them most and sort of teach me lessons. The same can be true of films, films are released into society to aid in a lesson, inspire people, comfort people.

I think about a lot of my favorite directors, and I think about their first films, and I have great admiration for the earthiness of those films.

The only thing I do worry about is that the more films I do the more visible I am going to become as a personality because of press and because of the sheer quantity of films.

Just because something's kinda indie and whatever and only a few people know it, it doesn't give it more authenticity over Rihanna's 'Work' work work.

I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.

The main reason why I'm a documentary filmmaker is the power of the medium. The most powerful films I've seen have been documentaries. Of course, there are some narrative films that I could never forget, but there are more documentaries that have had that impact on me.

My dad would play 'The Blue Album' a lot, the first Weezer album, and that influenced my alternative indie thing and that's kind of how I found tons and most of my favorite bands.

It wasn't my childhood fantasy to work with Truffaut or be in obscure films. I like Midnight Run better than I like The Bicycle Thief. It was films like Die Hard and Bladerunner that made me want to be an actor.

I have done many comedy films. Success of films like 'Partner,' 'Singh is Kinng' gets you to a very wide audience reach. But for greater gains, you need to take greater gambles. If it works, you get respect and recognition.

I love the tradition of male coming-of-age films like 'Saturday Night Fever' or 'Mean Streets' or 'Go.' I love those films that work music into those stories.

Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.

As a filmmaker, I've had films that over-achieved and I've had films that under-achieved. You always go in trying to do your very best.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

Having grown up watching my father direct films and having worked with him and my brother, I know how films are made, how shots are taken.

Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.

For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.

I personally don't enjoy films that bring black people down. I find that a majority of the films that black people are starred in nowadays, are ones focused on gang violence or dancing.

My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.

The pirating thing is bad. The people it hurts the most are the ones you least think it hurts. It's not the big Britney Spears albums that are being pirated; it's the indie bands that don't have two cents to their name

When I was a kid, you listened to a certain genre. Now it's like, "I love indie rock, I love hip-hop, jazz, funk." Also, we knew it couldn't be the same thing each year.

You can't expect to connect with everybody, and that's all right. The more I make films, I'm learning that you don't have to make films for everybody. A film can be made for a smaller group of people than that, and it still warrants an existence.

I had done a lot of indie movies before I realized that acting could be a way for me to get my family out of poverty. It was at that point that I decided to take acting seriously.

The pirating thing is bad. The people it hurts the most are the ones you least think it hurts. It's not the big Britney Spears albums that are being pirated; it's the indie bands that don't have two cents to their name.

I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.

To those of us who have seen all of Eric Rohmer's films, it is impossible not to remember when, where, with whom we saw each one. I even remember the second and third time I saw his films.

There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.

I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.

Good action films - not crap, but good action films - are really morality plays. They deal in modern, mythic culture.

Ideally, that's what you've got in an acting career is an equal number of dramas and comedies and an equal number of small films and big films.

'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.

I hate films. Films make me sick now, and if something makes me sick, I always back off.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

Whenever I sign a couple of films, people say I'm not paying attention to my constituency. Whenever I go to Rampur or elsewhere, people ask me about my films. It is strange, really.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

Critics often say, 'Oh she makes films about strong women'. Wrong; I make films about complex characters and the choices they make.

You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.

When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.

I think we have a responsibility to shape the zeitgeist with the movies we put out there. Because 'After Earth' isn't going to do it. 'The Expendables 3' isn't going to do it. You could make one million amazing films for the amount of money they spend on those films. I get frustrated.

I had fame and wealth and things that are supposed to make you happy, but I wasn't happy, because there's no importance on having a fulfilling life. So in my mid-40s, that was my pursuit - making films that interested me, films that I would like to go see.

What I know is that I am honest about my films, and my films are honest about reality. The stories themselves dictate the way that they should be told.

Film can do lots of things: It can produce alternative ideas, ask questions, just record the reality of what's happening, it can analyze what's happening. Of course, most commercial films are controlled by big corporations who have an interest in not doing those films.

I have got lot of appreciation for my performances in many Kannada films. In fact, I got the best roles of my career in Kannada films.

The only reason an indie gets made is because someone has a burning passion to do it and won't take no for an answer, as opposed to a big film, which is like a train that starts rolling down the tracks and nothing can stop it.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.

My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.

I like action films, not exclusively, but I like Samurai films. I like Westerns. Not so much war pictures, but a few. I like kinetic cinema.

I can't dance like Hrithik Roshan. I don't have the necessary glamour like some of the other actors do. They are able to sell themselves on that aspect. I do roles and films which are very realistic. So, in those films, if you don't get into the skin of it, they won't look convincing.

I identify as being an independent artist. I think people often forget that Indie is actually short for independent. For me, the word has a meaning more than what it connotes from an industry standpoint.

I would not have been interested in doing just a revenge film simply because I have seen so many revenge films right from Clint Eastwood films to Amitabh Bachchan's 'Zanjeer', 'Sholay' and 'Ghayal' and various variants of them.