If You Create for a Studio, You Are an Employee!

26 Jul

Wow!  In the end, Film Courage sectioned my recent two-hour interview with them into 15 parts!

I posted Part I, Part II, and Part III on this blog.  And if you’re interested, you can peruse all 15 parts on the Film Courage YouTube page.

One of my last sections just might be the one that gets me into the most trouble with fellow filmmakers.  In it, I discuss my very unpopular opinion regarding the filmmaker as an employee when working for a studio. 

Take a look and let me know what you think!

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Do You Deserve to Make a Good Film?

13 Jul

At what point does a filmmaker have the right to say they want to make a good film, or a great film, for that matter?

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The Reason Why I Quit Law School

5 Jul

In Part IV of my Film Courage interview series, I discuss the reason why I quit law school.

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Seek What is Uniquely Yours to Explore?

29 Jun

I’d like to leave you with a quote that stings me most, a piercing insight by photographer Robert Adams in his book, Beauty in Photography (1996):

…though not everyone would share the fullness of my admiration for [Edward] Hopper, few now would criticize him, as some of his contemporaries did, for not directly addressing the problems of the Depression.  Had he made those issues his first concern he would presumably not have given his attention as fully to a consolation that we sense was uniquely his to explore, the beauty of light on buildings. (Emphasis added.)

I cannot overestimate how deeply these words pain me; they are my conviction.  If there is such a thing as one’s calling, this is mine.

As an artist, it is my utmost priority to continually seek what is uniquely mine to explore.  This is my burden.  It’s the source of my stress, heartache, and hope. 

Equally fierce, Adams’ notion sheds light on the futility of didactic, and often heavy-handed, theme-driven material so many folks set out to produce.  Though their effort may be honorable, setting out to produce work in order to preach a point is dishonest to oneself, and ultimately, to society.  Film, and art at-large, would no doubt be elevated and be more meaningful if more of us set out to uniquely explore what is ours to explore, even if the light on buildings during a depression…

Second Story Sunlight by Edward Hopper

It’s been great sharing my favorite quotes with you this week and I sure hope you will take time to share them with others.  I would not have come across some of these quotes had others not shared them with me!

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We Must Write Dangerously

28 Jun

This week’s fourth quote comes from writer James Joyce:

The important thing is not what we write, but how we write, and in my opinion the modern writer must be an adventurer above all, willing to take every risk, and be prepared to founder in his effort if need be. In other words we must write dangerously: everything is inclined to flux and change nowadays and modern literature, to be valid, must express that flux. . . .

As I’ve been writing my current feature-length script, I’ve been struggling with convention versus personal innovation.  I continually find myself defaulting to the way things are expected to be, rather than the way my gut wants them to be.  

Default writing pains me.  It’s the result of watching movies for many years.  My greatest discipline as a writer in this stage of my career is to filter default convention more and more as I write, rather than go through with it to the end, resulting in trite, hackneyed fluff.

A big thanks to Sentence First for recently introducing me to Joyce’s words above…

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