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? ↗
There are always at least five good films at the end of the year to get nominated, but generally speaking nowadays, it's more of the independent films that are recognized. ↗
I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents. ↗
I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often. ↗
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. ↗
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes. ↗
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film. ↗
