Robert Downey Jr’s Blunt Dismissal of Indie Films Sparks Debate

Robert Downey Jr, once the darling of independent cinema, has become synonymous with blockbuster franchises. When he first donned the Iron Man suit, few could have foreseen the seismic shift it would trigger in the film industry. Yet, Downey has never shied away from his role in this transformation. If anything, he seems to embrace it, even as the superhero juggernaut shows signs of fatigue. His decision to take on the role of Dr Doom in upcoming instalments only cements his commitment to the commercial side of the business.

It’s easy to forget that Downey’s roots lie in the world of low-budget, experimental filmmaking. As a child, he appeared in his father’s offbeat productions—acid westerns cobbled together by a motley crew of countercultural filmmakers. These early experiences were a far cry from the polished, high-stakes environment of modern blockbusters. After a turbulent period marked by legal troubles and rehabilitation, Downey staged a comeback that would see him ascend to the very top of Hollywood’s hierarchy.

From Indie Beginnings to Mainstream Stardom

One might assume that such a dramatic turnaround would inspire a renewed passion for quality storytelling. However, Downey’s perspective on films made for artistic rather than commercial reasons is less than enthusiastic. In a 2015 interview, he remarked,

‘while blockbusters could sometimes “suck,” it was the “little movies” that could be the most punishing.’

He went on to describe the challenges of working on independent productions: delays, working through personal milestones, and even being asked to cover basic expenses. According to Downey,

‘the higher-ups in the picture will ask the star to pay for craft services and then be told to go to Sundance and sit in a chair and “sell [the film] for six days in a row so that we’ll make 180 bucks when it opens in one theatre.”’

He didn’t stop there, labelling the filmmakers behind such projects as

‘inexperienced and lame’

—a comment that has not gone unnoticed.

Such remarks have struck a nerve, particularly among those who see independent cinema as a labour of love. In 2024, Brady Corbet, director of the much-lauded The Brutalist, revealed he earned nothing from his work on what many consider a modern classic. Corbet’s experience is far from unique; numerous acclaimed directors struggle to make ends meet. Against this backdrop, Downey’s complaints about contributing to the lunch fund for crew members seem rather tone-deaf.

On-Set Antics and Industry Realities

Downey’s grievances about working conditions extend beyond financial matters. He has bemoaned the expectation to work on holidays, though it’s worth noting that the rest of the cast and crew are subject to the same demands—often for a fraction of his fee. His behaviour on set has also raised eyebrows. David Fincher, who directed Downey in Zodiac, recalled the actor’s unconventional protest against the film’s gruelling schedule:

‘he staged a protest by peeing into mason jars and leaving them on the set “as a form of protest.”’

Not exactly the sort of camaraderie one might hope for on a collaborative project.

Despite his apparent disdain for the indie world, Downey has occasionally made gestures towards more artistically ambitious projects. He accepted a significant pay cut to appear in Oppenheimer—though ‘significant’ is relative, as he still pocketed $4 million and an Oscar for his efforts. It’s a move that some might call selfless, though others could be forgiven for seeing it as a calculated step rather than a genuine sacrifice.