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Line 80: ==Filmmaking style== According to Marshall Fine, "Cassavetes~~, who provided the impetus of what would become the independent film movement in America …~~ "spent the majority of his career making his films 'off the grid' so to speak … unfettered by the commercial concerns of Hollywood."{{sfn\|Fine\|page=99}} To make the kind of films he wanted to make, it was essential to work in this 'communal', 'off the grid' atmosphere because Hollywood's "basis is economic rather than political or philosophical",<ref>Powdermaker, Hortense. ''Hollywood: The Dream Factory''. Little, Brown and Company: Boston, 1950. P. 327.</ref> and no Hollywood executives were interested in Cassavetes' studies of human behaviour. He mortgaged his house to acquire the funds to shoot ''A Woman Under the Influence'', ~~instead~~rather ofthan ~~seeking~~seek money from an investor who might try ~~to change the script so as~~ to make the film more ~~marketable~~commercial. Cassavetes' films aim to capture "small feelings" often repressed by Hollywood filmmaking, emphasizing intimate character examination and relationships rather than plot, backstory, or stylization.<ref name="auto"/> He often presented difficult characters whose behaviors were not easily understood, rejecting simplistic psychological or narrative explanations for their actions.<ref name="Ray Carney pp. 283">Carney, Ray,''Cassavetes on Cassavetes'', London: Faber and Faber, 2001: pp. 283.</ref> Cassavetes also disregarded the "impressionistic cinematography, linear editing, and star-centred scene making" fashionable in Hollywood and art films.<ref>Bendedetto, Lucio. "Forging an Original Response: A Review of Cassavetes Criticism in English", ''Post Script'' V. 11 n. 2. (Winter 1992): 101.</ref> Instead, he worked to create a comfortable and informal environment where actors could freely experiment with their performances and go beyond acting clichés or "programmed behaviors."<ref name="Ray Carney pp. 283"/>

John Cassavetes: Difference between revisions