Parker Posey Quotes

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.

The gritty indie films are a lot rarer than the films that aspire to fill multiplexes.

You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.

Suddenly, all the giant Hollywood franchises are being driven by alternative filmmakers.

I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?

No studio picks up the phone after seeing 'Dogtooth' and goes, like, 'We have the next superhero movie.' Though if one did, that would be an interesting studio to work with.

The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.

We're going to see a very, very commercial kind of picture-making.

Hollywood exists only for the B-movies. The best things are coming from Europe.

A lot of big studio films, which are fun and great, tend to have a formula, and you've seen it before, and it's a new version of it.

Movies are somewhat diminished by blockbusters, which are great, but there's not enough choice.

There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.

It seems that the small movies are a little more risky and cutting-edge. You've got your big commerce and you've got your small films that you're more passionate about.

The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.

Special effects movies have taken over the universe. That and scary movies.

Cinemas gained new young audiences who wanted films made for them.

I'm not gonna rush out and see the next 'Batman;' I'm not big on formula movies.

'The Book of Love' is the kind of James L. Brooks mainstream movie that the majors are ignoring.

You can't go looking for another one of those franchises. You only ever get one of those. You get 'Stars Wars'; you get 'Indiana Jones' or get 'The Matrix.' I've had my franchise.

I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.

Everybody's trying to make blockbusters.

Feature films seem geared toward very large budgets, action, broad comedy. That seems to dominate all year where it used to be relegated to summer.

As a viewer, I will go and watch only commercial films.