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Aren’t those major studios that are spending tens of millions to buy the best of the indie films actually exerting indirect market pressure on the savvy independent production companies that are financing them because they would really like to make a profitable sale, making them technically NOT independent?” Of course, after our last category, you might be thinking to yourself, “Hey, wait a minute. 8: Self-Funded Only - Night of the Living Dead But they knew exactly what to do, promoting the film to theatrical success and wins at the Golden Globes and the Academy Awards that it very much deserved. So, it’s fitting that it ended up at Focus Features, the indie arm of a major film studio, for distribution. On the other hand, she’s Sofia Coppola, the daughter of Francis Ford, whose American Zoetrope is one of the heaviest hitting “indie” film studios of all time with more connections in Hollywood than a QAnon conspiracy. She also chose to shoot the film in a run-and-gun, natural-light, improvisational, frequently unpermitted style with a small crew, and purposefully chose not to pre-sell the American distribution rights so that no one could take away her final cut. On the one hand, she took great pain to make the film her way, including recruiting Bill Murray directly from his personal 1-800 number, signing him on with no contract, and just taking him at his word that he’d show up in Japan. Sofia Coppola’s sensitive sophomore film about loneliness in Tokyo and an unexpected connection between a young woman and an aging star is a perfect example of indie filmmaking’s delightful contradictions. However, our favorite independent film that went this route has to be Lost in Translation. They’ve brought us Brokeback Mountain, In Bruges, Whiplash, Call Me By Your Name, Little Miss Sunshine, Juno, Garden State, Before Sunrise, Eternal Sunshine of the Spotless Mind, and so many more. So, maybe independent distribution doesn’t matter so much when it comes to “indie” classification. Today, plenty of independent filmmakers make something incredible and are rewarded with lots of money and wide release by those studios without ever getting told what they could and could not do. In the wake of the successes of films like Reservoir Dogs, the majors eventually said, “Hey, we can make some money with this indie racket,” and they created a bunch of different niche house brands like Focus Features and Fox Searchlight to scoop up the best of the festival circuit and sell them to fans of The Shins. 9: Independent by NOT the MAJORS - Lost in Translation But there was then - as there still is now - a certain something to it that the world was very much hungry for. To this day, the energy and vigor and differentness of Tarantino’s feature is distinguishably “indie,” which is ironic given how he famously modge-podged it together from a video-store worth of influences. Miramax scooped it up after its premiere sensation and distributed it to iconic status. Originally planning to shoot it himself on black and white film with no-name actors, Quentin Tarantino’s script found its way to Harvey Keitel, who helped raise $1.5 million for the film. In many ways, it launched indie filmmaking towards the ’90s mainstream. Capturing festival-goers and mainstream audiences alike, it landed like a firecracker in 1992 with its plot out of order, its dialogue rattling off the eaves, and its tension bursting at the seams of its mostly single location.
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Reservoir Dogs’ post-heist-hole-up-gone-wrong was an indie sensation. This was a time when mini-majors like Miramax, New Line, and Lionsgate ran the show with classics like Buffalo 66, My Own Private Idaho, Night on Earth, and our first pick: Reservoir Dogs. My Big Fat Greek Wedding and Drive were also made and distributed with no studio interference, but our favorites here come from the era of the indie, which fall right into the ’90s and 2000s. More recently, A24 has been curating much of the best indie talent in the digital age and has brought us such incredible films as Uncut Gems, 20th Century Women, Waves, and Eighth Grade. This includes America’s first indie studio United Artists - created to free silent stars from the early clutches of the big studios - a company that gave us most of Chaplin’s best, Rebecca, and 12 Angry Men.
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To start, let’s ignore the exceptions for a moment and focus on those production and distribution companies that don’t have “Sony” or “Disney” on their org chart.