When one hears the term ‘independent film’ it usually conjures up images of skeleton (minimal) crews, low budgets and novice actors on their way to the big time. After Miramax turned small independent films into household names the term started to lose its meaning. What I mean to say is independent films now come to mean A-list actors, A-list directors, A-list crew, modest budget and most importantly – an art house feel. Art house meaning garnered toward a smarter breed of audience. These movies are now Oscar contenders and usually the winners making them a draw for talent. So with all the positives an independent film has, when does it stop being independent? Are the true indie filmmakers scared that their content is not going to be seen or heard now that big budget films are calling themselves ‘indie’ because they offer a quirky storyline with bohemian beliefs? A current article in the Daily Variety informs on the issue that studios now consider their independent films the big money makers. One quote says that while some of 2010’s indie films “did no where near the $120 million gross of Fahrenheit 9/11… they were to tip grossing 2010 films for their distributors.” (Goldstein). Since when do studio and independent mean the same thing? The upside is that with these evolvements we are seeing that there is a thirst for smart films and not just the fun blockbusters that sometimes take over the multiplexes. But one has to wonder, how can I push through to the big time if the studios continue to masquerade as small independents and not need the content provided by the genuine independents?
Goldstein, G (2011, May 23-29). Daily Variety. Indies Splash Into Summer, Niche distribs adopt bolder counterprogramming moves
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