I watch mostly independent films.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
I would like to do more independent films.
Independent films have a very different cachet than success films.
I find the most interesting and most daring scripts tend to be for independent films.
Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.
I always went to see independent films, they're the movies I'm usually most excited to see.
It just seems like that because I do a lot of independent films that don't get to the mainstream.
Let it be known: I am a free agent. I'm operating as an independent label. I do not have corporate sponsors. I don't have no corporate backing. I don't have no major distribution.
Even an independent label is looking for a hit, they're not looking for a record that's not gonna do well.
We turned what is virtually a glorified independent label into one of the powerhouse labels in the town.
We've sold over 100,000 records so far, and we're an independent label.
At an independent label, you have to figure out inventive ways to promote without spending the money.
I started touring a little bit in 1973 in support of a record I made for an independent label. In 1975, when I signed with Warner Bros., where I remained happily ensconced for the next 24 years, my touring activity increased considerably.
Based on the name value I had, I went to L.A. and got involved in independent movies.
It's very difficult to raise money, especially in the United States, for independent movies.
Most of my work has been independent movies outside the mainstream system.
Actors dread working with studios because they dictate what you do in a way that independent movies can't.
I was raised to be an independent woman, not the victim of anything.
I'm a very independent woman.
