To me, being a classical snob in the highest possible way and being an indie snob is just as bad!
I think as long as there are folks on the fringe who want to make movies, the indie scene will still be around. I do think it's getting harder to get them seen though.
I love to watch low-budget indie artsy films, but I do also love the big blockbuster things. I would love to do that one day, do a Marvel film. That would be really great.
In the old days, a TV sync was perceived as not so cool or whittling away at your indie cred. Now it's seen as much more of an opportunity than a sellout, as a way to find fans who wouldn't have ordinarily come across their genre of music.
Film schools are now nearly 50-50 male-female, and women are also well represented at festivals and in indie film. But what happens to them after they direct their first film or short? Where do they go? They certainly aren't being given the same opportunities as their male counterparts.
To get art nowadays, in cinema or books or anything, that grapples with the possibility of a meaningless universe... it just doesn't happen any more. In even the most indie of the indie films, everything has to come to some kind of neat conclusion.
They said I was a married mother of two but the record sounded like an indie album and they didn't know how to market it! This country is incredibly sexist, as is the music and media industry.
I really hope people go out and support the indie filmmakers, because it's a dying breed and there's a lot of cool voices out there that need to be heard.
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.
Sometimes I feel indie directors are in the game so they can make a film to get hired to do a big film - that we're all doing this person's reel.
For me, I always have looked at 'indie' as a term of 'independence.' Never associated a sonic gesture with that in the same way that pop music has always meant 'popular' to me; you know, it didn't define a sound.
I was one of those kids who had never seen an indie film before I got to college. If it wasn't a big, huge tentpole movie, or if it wasn't on the radio, I hadn't experienced it.
Actually, the most entitled people I've met are indie rockers and indie actors, because they really believe their press.
First off, I don't want anyone to think I'm this huge thing in Japan. Every group from here that's made any records over any length of time - even indie bands - have a Cheap Trick effect in Japan.
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 listen to all those kinds of music, from classic soul to hip-hop to Brazilian music to, you know, jazz to indie to alternative. So whatever. I listen to all if it. Classic rock and classic pop, all of that.
I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I'd try and do it via an indie or somehow license it. I'm not having my music owned by those corporate bastards again.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
To jump from the indie ranks to play with the big dogs, there's a gate you have to pass through.
It's wonderful to be appreciated for being quirky, and to see Zooey Deschanel and the quirky, indie film types get mainstream play is amazing for women, because women are much more complicated than what we've see on TV in the past.
I'm letting inspiration move me, in whatever direction it may, without concern if this sounds too rap or too indie, or there's too many words in it.
No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences.
You are at the mercies of the dailies. With an indie you don't have that.
You get dinged for wanting to do a comedy, then wanting to do a big-budget action film, and then wanting to do an indie. But you can't let other people trying to label you get in the way of trying to do something artistically.
You gain and lose different things in different mediums or different sectors of different mediums. There are liberties you get on tiny indie films in terms of not having to be designed toward a marketing demographic.
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.
Equal Vision seems to be doing really well. A lot of these major labels are just imploding and becoming indie labels, anyway.
They love putting me in the 'indie queen' box. I had some high standards in my 20s that I don't have anymore.
It doesn't get any more underground, conscious or indie than Macklemore, Ryan Lewis, but because they got a couple of really big pop hits, actually some of the biggest pop hits that hip-hop has ever seen, people are missing that part of their story. People are not counting that blessing.
The word 'indie' is meaningless now. It's so over-used that people think it simply means green hair.
I had a band called the Sound Of Love, and that was R&B songs about girls in my high school. I played in some other indie bands who were trying to make it big; those sucked. Then I started Makeout Videotape, and that was that.
I really do listen to all types of music, not only rock, but everything from good pop music - which is usually older pop music - to R&B and indie rock. I love indie rock more than a lot of the commercial stuff that you'd expect.
I was the female lead in a romantic comedy. It's a little indie film that we shot in China called 'America Town,' starring Daniel Henney and Bill Paxton. I actually had to speak Chinese in the film. It was funny because I found out I was doing the film and then a week later, I was in Shanghai.
I had seen other comic friends of mine go to indie labels. Like David Cross and Pat Oswald went to Subpop, and Subpop didn't make total sense for me, but the metal version of that did. So I made a small list with Metal Blade, Prosthetic and couple of other labels, and Relapse was one of them.
I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.
I've produced before, and sometimes it's by default. In the indie level, you can't just come to set and be like, 'Oh, I'm an actor.' You have to be willing to help out, make the project happen.