Frank Pierson Quotes

We danced on the lip of the volcano, so to speak. We were young, too. And New York was still a big, open city where anything could happen and anyone could be star. Rents were cheap, creativity was encouraged, and bottle service was still 20 years away. That was the era the Club Kids came into.

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 feel 100% sure that I have the career that I have today because of independent filmmaking.

I think you get in trouble if you make experimental big studio films.

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

Every artist is unreasonable, because he or she is doing something that hasn't been done before.

I love people who break boundaries and always create something new and fresh.

And it was out in the theaters in two weeks. This is not, 'We're going to develop twenty-five and maybe one's going to get made,' so the first three things I wrote got up on the screen and, good, bad or indifferent, I got to see them on their feet.

My father, George, has also affected the choices in my life regarding films. I like films that take chances or say something different or experiment. Growing up with him, I was surrounded by different artists - not just actors or film-makers but cartoonists, poets, writers.

I found out that total creativity involves a certain intellectual rebellion - not to become a criminal, but somehow. to be totally creating, you have to do things that are a little bit forbidden. You have to feel free, and we know freedom is a hard thing to get.

With directing, you always have three or four things constantly on the go. It's a tough industry and a tough time, particularly if you're doing things a little outside the box or independent features.

There were no previews; we made the film we wanted to make.

The innovative spirit was America's strongest attribute, transforming everything into a brave new world, but there lingered an insecurity about the arts.

Above all, film is a business... Independence is a really cool thing as you can be a bit more bold, and take a few more chances with what you do.

I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.

It was a great time to be making music because everything else was changing.

Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

I don't want to do only blockbusters.

Like the music and the period, I wanted 'I'm Not There' to be fun and full of emotions, desires and experiments that were thrilling and dangerous.

Independent filmmaking burns off a lot of storytelling fat.

There's something very cool about that indie spirit that I try to hang on to even now with the bigger films that I'm working on.

I truly believe that cinema is a collaborative effort, and as long as I get to tell, and be part of, interesting stories and work with genuine people, I don't see any project as a 'risk.'

I love my arthouse films, and I love taking a chance.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.