Look at It This Way: Another ‘Alien’ Finances 12 More ‘Fargos’ : Movies: The nominations for Oscars show that the majors recognize the indies’ small gems.

I have produced more than 500 pictures, beginning in 1954. Many of them were with my partner, the late James Nicholson, at American International Pictures; after his death, with my son Louis. In a certain sense we have been subject to the same forces that independent filmmakers confront today.

Currently, we are reading much about how the major studios prefer to concentrate on spectacular or “event” productions and won’t or can’t create the sort of movies that have just been nominated for Oscars. Throughout my career, I haven’t had much nice to say about the majors. They certainly didn’t help AIP get its product into the theaters in the beginning.

But today, the economics of the filmed entertainment business have led to sort of a Broadway and off-Broadway situation. Few off-Broadway plays ever make it to Broadway, and when they do they are usually in the hands of new and stronger investors who can risk the gamble. Same with the movies. Those completed ones that look like they justify the many millions of dollars needed to advertise, publicize and promote them usually are picked up by the majors.

Look at the current Best Picture nominees: “The English Patient,” an indie presented by Miramax (read Disney). “Fargo,” from Gramercy, which is a subsidiary of one of the new mini-majors, Polygram. “Jerry Maguire,” from Tri-Star, a division of Sony and the only nominee that originated at a major. “Secrets & Lies,” made independently in Australia and grabbed for distribution by the newly appreciated distributor, October. And “Shine,” also from Australia, acquired by Fine Line, largely owned by Time-Warner.

This seems to be the emerging pattern of the future. Because of huge overhead and studio costs, the majors will keep trying to hit home runs, with multimillion dollar stars, lavish sets and special effects. These are essential to cover the ongoing costs of operating large studios. And they will literally be scouring the world looking for the rare independent films they believe they can turn into winners. The majors pick up promising indie movies, which nonaffiliated producers can make for a small percentage of what they would cost the expense-burdened studios. Wave goodbye to some of the unnecessary and bloated studio costs. The Academy’s current nomination of such unique films indicates this change.

On balance, all this is good. The majors can hold onto their employees and keep making blockbusters. Independent filmmakers can keep creating, fairly confident that if they come up with something compelling and commercial, it will be offered to world audiences by major distributors.

That is not to say that it will be easy for independent producers. It never was and it never will be. For every independent film that makes its way successfully, many, many more fail.

But for creative, independent producers, the world of moviemaking looks more promising, in almost every way, than ever. That’s one reason I just go on producing, after 43 years.