Top 1200 Indie Films Quotes & Sayings - Page 3

When I was a kid, I wasn't looking at the small-budget films myself. I was looking at 'James Bond' and all the major films, so I still have that energy. I still love those films.

I've always been indie.

When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.

Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.

I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.

Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.

When people around me were signing films, I would wonder why nothing good came my way. See, I wasn't desperate to do films, but I was desperate to do good films.

Israel has a fantastic film industry, and many times we are known for our political films or films that have to do with the army. I love the fact that we can show that there are films coming out of Israel that are just for fun.

I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.

I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.

As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.

At some point in time, in the future, people are going to refer to the Step Up films as the films they grew up on. Hopefully, that inspires them to get in dance films that are being made.

Blaxploitation films were black films targeting black people. They were films made to appeal to a culture in a way that was supposed to be unfiltered.

I'd like to be in a tiny indie where I'm lost at sea.

I'm pretty optimistic that in the future these kind of films will also be part of the main categories, perhaps not in a foreign language, but certainly more socially and politically engaged films, or films that will happen where the story takes place outside the United States.

Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.

The sci-fi movies I grew up with, the metaphor was very rich, and they used to really mean something: David Cronenberg's films, or John Carpenter's films, or the Phil Kaufman and Don Segel versions of 'Invasion Of The Body Snatchers,' or George Romero's early zombie films.

I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.

I'm the anti indie-rocker. My stuff isn't ironic.

I'm going to write films, star in films, direct films. Write records. Perform live.

I think the audience know which films are aimed at their pocket, and which films are aimed at their soul. There are a lot of films out there made by people who are genuinely trying to make a change.

The beauty of my job is I do all different kinds of film directing, not just surf films anymore. And I do stuff from commercials to short films to working on feature films, and none of it is based from where I live. It's all based elsewhere, so I can live anywhere and commute to where I need to go.

If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.

It is unintentional that I will do less films, it just happened that way. Like in 2000, I had a line of films signed but it all went for a toss. The films never got made... It just happens.

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.

When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.

I don't compare myself with Freida Pinto. She has come a long way. She does only films in the West. I am open to do both - Indian films and films from the West.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

I have been told that... time doesn't flow in a straight line in my films. It goes round in a circle. Sometimes people comment that the films remind them of Ozu. Maybe that's right. But in Japan, nobody comments on how time passes in my films. So perhaps that is a different way of thinking.

I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.

You are at the mercies of the dailies. With an indie you don't have that.

The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.

I can never take a break from Telugu films, because they have given me a lot of recognition. No matter how busy I am or the number of films that I do elsewhere, I always keep my schedule free for at least two to three films in Telugu.

I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.

It's not like I set out to be 'the indie guy.'

I respect Malayalam films the same way I respect Bengali films. I think Malayalam films have not compromised on the essence and have kept their own statement and are coming up with very good themes.

I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.

I am inspired by both Japanese Samurai films, in particular the films of Kurosawa, and how they share the spirit of American Westerns, with the influences running in both directions, and including the 'Spaghetti Westerns' and films of Sam Peckinpah.

L.A. films are hard to define compared to New York films because New York films are their own subgenre, in a way. L.A. is more transparent.

I do like to have a clean slate, especially when you're in indie film.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.

I never identified with 'indie,' I don't like that word.

Some filmmakers make films to please themselves and a handful of critics, so they get 5-star reviews but their films don't run at the box office. I make films for the masses.

The only Train song I like is the one that I play in my act "Drops Of Jupiter". Sheryl Crow has three or four songs that I like; also Dave Matthews Band. With those particular musicians, it's more that there are a few songs that I like rather than their entire body of work. There are a lot of indie bands that I like too. I'm not a snob about music. Does the fact that I like Stephen Sondheim and Broadway musicals make me a fake? Does the fact that I'm "the Billy Joel of comedy" mean that I don't have indie-rock credibility?

I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.

Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind.

I choose my films in a way that helps me do justice to all of them. Also, I like doing time-consuming films like 'Baahubali'; it's sometimes more rewarding than doing lots of small films.

There's always been this feedback between comics and films. But I think that if you take that analogy too far, if you only see comic books in terms of films, then eventually the best we can end up with is films that don't move. It would make us a poor relation to the movie industry.

I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.

Horror films are the ones that pay the bills, and historically, they have shown that they are good investments. They helped Universal survive with that initial splash of horror films in the 1930s and '40s. And horror films kept New Line alive with the 'A Nightmare on Elm Street' series.

I don't believe in women-centric films, but I certainly believe that we should create films that have more challenging roles for women and I definitely will have that in all my films.

I want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.

I've chosen all my films very carefully. I know that I've had better parts in some films than in others. But the films I do are the ones I want to see when I read the screenplays. I guess you can basically say that I've just done things I loved when I read them.

That's my advice for indie filmmakers: Marry a supermodel.

As long as I am acting, I will do only Telugu films. I want to take Telugu films to the world. Everyone should talk about our films.

I don't like these commercial films I do. I'd far prefer to do more artistic films, more cult films.

I listen to a lot of indie or rock music.

The truth is I don't see a lot of movies. I see the Oscar films. I see the films that are sent to me and a few films throughout the year.

I had begun my career with emotional films - Rajasthani film 'Bai Chali Sasariye.' Later I did several films as a heroine, and made the audience cry a lot. I even did action films, where I would play a dacoit or a police officer.