Tim Bevan Quotes

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.

I watch mostly independent films.

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.

The films that are coming out of SXSW are incredible, and they should get the same bids that films at Sundance are getting.

In the 80s, parallel cinema gained momentum. So, I got back to films and won National awards for Maqbool' and other films.

It almost feels like a movie or a- I know it's been said many times - that cable television is the new novel kind of thing - but it does feel like that.

'Five Easy Pieces,' 'Easy Rider' - those are indie pictures; those were not studio pictures. They had relationships with studio distribution, but they were indies.

In terms of doing another franchise after 'Transformers,' I don't know if that would be best for me. I'm really happy to inhabit the world of independent film.

In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.

I am a big fan of Jim Jarmusch, and I do love big screen documentaries.

There are definitely strictly independent movies. 'Gummo' is one. Another is one I made, 'Fresh,' a $3 million movie which Boaz Yakin directed.

To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

I was a young film student around the time of the new wave in film in the 1970s; old Hollywood was naff and over. For me, as a film student, I was going to see French and Italian cinema; American cinema was 'Easy Rider' and 'Taxi Driver.' Everything was gritty.

TV, in particular cable channels, has assumed the role of independent film.

I was making a lot of independent movies before the independent movement.

I'm a person who likes these sort of movies... sad but moving 'art movies' that normally are at a festival and then they go to a small art house theater and disappear.

The lifeblood of my career has been independent film.

Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

I've made a lot of very small movies that may not have had a large initial audience. Then it shows up on cable.

I started working in the mid-to-late Seventies, when television was not what it is now.

My heroes were people like Jim Jarmusch. Scorsese was my god. Spike Lee was exciting, doing exactly what we thought we were going to do: personal movies based in, and about, New York. My heroes were all participating in an economic model that was collapsing as I was finishing film school.

When I did 'Memento,' independent film was where all the really good stuff was.