"Independent films are where you really get to cut your teeth and have some fun and do the things that mainstream Hollywood doesn't want to do"
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Independent film, in Anthony Anderson's telling, isn't just a budget category; it's an attitude adjustment. "Cut your teeth" frames indies as a proving ground, the place you earn your stripes by doing the unglamorous reps: smaller crews, tighter days, fewer safety nets. It's the language of craft, not celebrity. Then he pivots to "have some fun", a word that reads almost like code. Fun here isn't frivolous; it's freedom from the polite constraints of brand management, focus-grouped story beats, and the invisible list of things a star is "supposed" to be.
The real needle comes in the closing clause: "do the things that mainstream Hollywood doesn't want to do". Anderson isn't just praising indies; he's quietly indicting the system that prefers predictability over risk. Mainstream "doesn't want" suggests an active aversion, not a simple inability. It hints at gatekeeping - the kind that shows up as notes, casting assumptions, or the fear that a story is too weird, too specific, too sharp-edged to travel. Coming from a working actor who has moved between studio comedy, TV, and smaller projects, the subtext is lived experience: the big machine can employ you, but it can also sand you down.
What makes the line work is its double comfort. It flatters indie filmmakers as the real adventurers while giving actors permission to chase projects for artistic oxygen, not just visibility. It's a gentle rallying cry with a grievance tucked inside.
The real needle comes in the closing clause: "do the things that mainstream Hollywood doesn't want to do". Anderson isn't just praising indies; he's quietly indicting the system that prefers predictability over risk. Mainstream "doesn't want" suggests an active aversion, not a simple inability. It hints at gatekeeping - the kind that shows up as notes, casting assumptions, or the fear that a story is too weird, too specific, too sharp-edged to travel. Coming from a working actor who has moved between studio comedy, TV, and smaller projects, the subtext is lived experience: the big machine can employ you, but it can also sand you down.
What makes the line work is its double comfort. It flatters indie filmmakers as the real adventurers while giving actors permission to chase projects for artistic oxygen, not just visibility. It's a gentle rallying cry with a grievance tucked inside.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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