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In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.

I was making a lot of independent movies before the independent movement.

I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it's become very corporate, the independent scene.

When I started in the mid-'90s, the goal was really to shoot for a film career and stay there.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

I always went to see independent films, they're the movies I'm usually most excited to see.

When I did that first movie, it was the introduction to all the set-up time and the waiting time that's endemic in motion pictures, and the repetition.

A great movie evolves when everybody has the same vision in their heads.

When I started out in independent films in the early '70s, we did everything for the love of art. It wasn't about money and stardom. That was what we were reacting against. You'd die before you'd be bought.

And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.