I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.
Robert RedfordRead
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.
Interpretation
The quote highlights the difference in perspectives on money between independent filmmakers and corporate entities.
Robert Redford's quote underscores the divergence in motivations between independent filmmakers and corporate minds in the film industry. For filmmakers, money serves merely as a tool to achieve artistic goals, while for corporations, it is the primary objective. He expresses concern that this monetary focus creates confusion and pressure in independent cinema, pushing it away from its creative roots.
In practice
In a film workshop discussing the pressures independent filmmakers face in today's market.
I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.
People say I've gone against Hollywood, but I've tried to be independent within Hollywood, tried to be my own person.
When I was a kid, all I knew was that I felt more comfortable sitting in one chair than in another. And now I realize it was because one chair was older. I still respond directly to the age of things.
For me, the Sundance Institute is just an extension of something I believed in, which is creating a mechanism for new voices to have a place to develop and be heard.
Storytelling was a way to see the world bigger than the one you were looking at, and that had great appeal for me. I think, since that was part of my upbringing, it became part of me, and I wanted to pass it along to my kids and my grandkids.
Be careful of success; it has a dark side.
Bored with obvious reality, I find my fascination in transforming it into a subjective point of view.
From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.
The details are details. They make the product. The connections, the connections, the connections. It will in the end be these details that give the product its life.
A critic should be taught to criticise a work of art without making any reference to the personality of the author.
Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.
If you're actually allowing your creative part to control your writing rather than a more commercial instinct or motive, then you'll find that all sorts of interesting things will bubble up to the surface.
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