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I think you get in trouble if you make experimental big studio films.
You can have ambiguity in television that you are not allowed in film... at least in Hollywood studio films.
It kind of irks me that the studio films still have to be so safe even though they don't really cost as much to make.
Studio films are driven by marketing. The currency is literally money. But in the indie world, the currency is passion.
Independent film is film that has thought in it. There's no independent thought in studio films. It's collective thought.
'The Dice Man' is an anti-establishment cult novel, and you don't normally make studio films from such dark comedy material.
A lot of big studio films, which are fun and great, tend to have a formula, and you've seen it before, and it's a new version of it.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
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.
I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'
I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.
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.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.
I've certainly auditioned for big budget studio films. I don't know if it's because there's so much money involved, but a lot of times the pressure overwhelms me and engulfs me. I end up falling apart in the audition.
I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.
I guess in the independent market, I'd be getting offers, but in terms of big studio films, I still have to audition. I don't think my name is that well-known, I don't have much of a following to guarantee box office success yet.
I have been lucky in getting a lot of the projects I've wanted, maybe because I'm really, really driven. But there is a stigma that women can't direct big studio films. Not that I want to do that, but it is a topic that comes up a lot.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
As an audience member, those studio films are fun. I like an adventure tale, and I also like to go see something that has more of a social pulse. I like to keep learning and trying new things. And if the scripts are good, it doesn't really matter.
What's disheartening for me and to all of us in GLAAD is when it comes to major studio films, LGBT people are basically invisible. And when we do show up, it's largely a part of comedies as carictatures to service a joke that's at the expense of the character.
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.
There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.
We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.