Top 1200 Indie Movie Quotes & Sayings - Page 6

I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.

I worked at a movie theater in Tempe, Arizona, when I went to community college there. And I got fired because a sorority had rented out a theater to watch 'Titanic,' and they were being really rude to me while they were waiting for the movie. So as I tore their tickets, I told them the end of the movie.

I really just wanted to work on adventure games, so Pinkerton Road is our own little indie studio that's focused on that.

My one hope for Netflix and Amazon is to be a little more art house- and indie-friendly, pushing those just as hard as they push their originals.

We spent six weeks there [in Vegas]. The only thing crazy that I did was shoot that movie [The Hangovers]. The stuff in that movie is way crazier than anything I might have done, drunk one night in Vegas. I mean we did it for real in the movie, so that's as crazy as it got.

I think overall, making a movie is like putting a stamp on the world. Every time I make a movie, I feed in elements to make sure that it's my movie. I'm marking poles like a dog does. This is how I show my movies to the world.

I really feel like indie films are where I learn to be a better actor, especially because they always give you a bit more freedom to collaborate.

Books are great for if you want to work on the craft of writing for yourself, or, you know, to write novels or indie films, stuff like that.

'Chitty Chitty Bang Bang' was a movie that I repeatedly turned down. The movie's producer, Albert 'Cubby' Broccoli, known for his tight-fisted control of the James Bond movie franchise, desperately wanted to re-team Julie Andrews and me after the success we'd enjoyed with 'Mary Poppins.'

I'm pretty much a movie-to-movie guy. It's hard for me to multitask so I feel very one-thing-at-a-time oriented and I usually just wait until a movie's done and it's premiered, then just kind of reflect on what I'm interested in my own life and let the movies come to me rather than force them.

On MySpace ... the whole demographic of the stand-up comedy fan has changed. It's like an indie band thing. People think they've discovered you.

I've been in a lot of indie movies, where we didn't necessarily have permits or permission. I've even run from the cops in the New York City subways!

The indie shows are tons of fun. And for the fans, having that up close and personal experience is so different to watching wrestling on television at home.

Major labels don't want to take chances on cooler, indie kind of things. People only know, unfortunately, what they're being spoon-fed.

Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

Princess Rose should indeed be a TV movie, assuming something doesn't go wrong. I don't know how good a movie it will be, because the way movie folk think is different from the way writers think, and I distrust what isn't done my way. This is what I call a healthy paranoia.

We don't consider black, urban films as 'indies,' though many of them are shot for under $10 million which is kind of the definition of an indie.

It's not my job. The Weinstein company, it's their job to convince people. My job was to make the movie. That's what I did. I know what we did in France was to have the maximum screenings just to let people talk about the movie and say they enjoyed the movie.

Even the indie rock world - which is supposed to be about truth and independence from corporate mindfulness or something - is totally subject to the paraphernalia of celebrity.

I like the idea of not having to do stuff for the money, and if I want to, I can pick indie projects for the rest of my life and be quite happy doing that.

There are certainly things labels can still provide that indie artists cant. They can pave the way to radio and pay big bucks for promotion.

I guess in Australia every film is sort of an indie film because there are no studios.

It is hard to come up with ideas that are achievable on a scale that you know you are going to have for an indie film but it also have some kind of hook.

I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'

When I was a teenager, I went to Europe on a backpacking trip by myself, and I met a woman who was following Sebadoh. It was the early 1990s, and that was my introduction to indie rock.

I remember my sisters, they loved a movie called 'The Naked Island.' And the flute was actually playing the main theme. A Japanese movie. A beautiful movie from 1961. I remember hearing this music with a flute many, many times a day at home.

The second 'Postal Service' album is threatening to become the 'Chinese Democracy' of indie rock. It will come out eventually, or maybe it won't.

A movie is a filmed rehearsal in a way. The audience doesn't know that because you're taking out the things that don't work. There's no comparison to the theater because it's live. But making a movie is just as challenging and exciting, I find. A movie is pure process. The theater is the result of process.

The American indie underground made music for like-minded people who thought for themselves. Thinking for yourself is intrinsically subversive.

We have a lot of indie artists coming from Sweden, not so much soul. The closest thing we had was Robyn when she came out, but it's a different kind of R&B.

We did the original 'Stargate' as an independent movie. It was a surprise success. Shortly before the movie came out, the financiers who were frightened the movie might not do well sold the film to MGM. When the film came out, it was a hit and spawned TV shows.

'E.T.' was the movie that made me want to make movies in the first place, and it was the first movie that made me focus on writing instead of what happens in the movie.

There's a certain type of indie fan who would balk at the prospect of there being value in pop music, but I think that's foolish. They're not really listening.

I don't really listen to a lot of 90s alternative indie female stuff anymore, but I loved Liz Phair and Kim Deal when I was younger.

I'm never aiming to make a movie like someone else's movie, but in order to describe a movie to someone else who hasn't seen it, you usually have to reference things they have seen.

I'm into a lot of different types of music - pretty much everything from blue grass to jazz to dub step to metal to indie experimental and progressive.

I want to play guitar, piano, drums, write songs for other people. I can do punk - I can do indie - but as long as it has my voice, it'll always be my sound.

The record company doesn't know what to do with me, because I'm not a Lily Allen, but I'm not really an indie artist, either. All the best artists have been in the middle.

My greatest sense comes from the experience of performing in the movie. When I have a great experience, that becomes a perfect movie. If it makes a nickel, it's still perfect. The same is true with a movie that's a bad experience. If it makes a bejillion dollars, I will hate it till the end of time.

I am from Chicago, but my dad is from Karachi, Pakistan, and my mom is from New Delhi, India. So, I've got a little Paki-Indie fusion going on here.

Stars are a part of our emotional psyche, but audiences should also support a good indie film which may not have a big star.

Any time I hear certain songs I put in a movie, I have to not listen to them anymore because I associate them with that movie. They take on that association rather than the association I had when I first heard them. So it's kinda bittersweet to put a song in a movie, honestly.

I have friends with deals, both major and indie, and the ones on majors never seem as happy, and quite frankly aren't making music as strong as those on independents.

I'd love to make a movie with Tom Hardy. If we ever got the chance to make a Venom movie together, that would be super-cool, but his movie would have to take place in the MCU because I'm not giving up my ticket in the MCU.

Giancarlo Giammetti has a lot of nervous energy. He's a director, really. He was trying to direct the Valentino movie over my shoulder. I don't blame him - that's been his job for 50 years. But I had final cut in the movie by contract and I wouldn't have made the movie if I had not been completely independent.

I have a new book coming out, so I do movie, book, movie, book, movie, book, every place we go.

I love PJ Harvey, Patti Smith, Pixies, Portishead, and Massive Attack: a lot of what I would describe as alternative and indie music.

I'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.

For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.

The only reason I was offered 'Punisher' was because I had made an indie film that was rated R for violence and was filled with fight scenes.

I loved 'Weekend,' and it meant a lot to me when I saw it in the movie theater. I think 'Looking' feels more like that movie than any of those other shows, with a little more comedy thrown in than 'Weekend.' But it's certainly got the vibe and look and feeling of that movie.

There's a whole apparatus for indie bands now, but back in the eighties it was just getting built. The early people really took it on the chin.

You know, the people who do indie film and decide who gets those little budgets? They're mean, man. They're cold and very cool-oriented.

Would movie moguls release a film portraying Adolph Hitler as a great benefactor of the Jews? Hardly. Would they release a movie if the black community found it to be highly disparaging? No way. You better believe these executives would also think long and hard before they released a movie offensive to American Indians, Muslims homosexuals or virtually any affinity group. Yet, to most movie industries a film which offends millions of Christians is fine and dandy.

I'm real critical of myself. I think a lot of what I've done is boring indie rock. I didn't intend it to be that way, but somehow milk gets added to everything.

The opening scene from 'Sharknado' I think was better than the original 'Jaws' movie. It was scarier, it was bloodier, and it had more high-anxiety moments than the original 'Jaws' movie. And that movie kept me out of the ocean for a summer.

In indie rock, there's the phenomenon of: "Oh, this guy seems totally normal, but he's actually crazy." There's more of that out there than you'd think.

It's important to keep indie record stores alive because their unique environments introduce music lovers to things in a very personal way.

I think one of the reasons 'Gremlins' lasts and some other films don't is because I don't think the movie has a whole lot of dated things - sure, the cars, my hair, and few things here and there that date the movie - but it takes place in a sort of everytown, in a sorta non-specific time, and that gives the movie a timeless quality.

I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.