Category: What Filmmakers say

Why good stories make you want to have a better life.

Recently I liked this far away three-pointer by Laurie Anderson and Lou Reed.  They always struck me as adventurous storytelling characters, Super-people from the quiet wild side.

Their quote was about finding ways to get through life.

One: “Don’t be afraid of anyone. Now, can you imagine living your life afraid of no one?”

Two: “Get a really good bullshit detector.”

Three: “Three is be really, really tender.”

“And with those three things” – Laurie said – “you don’t need anything else.”

In the full wide range that stretches from street hobos to rich presidents and from Ivy-league dropouts to post-celebrity rehabs, there is a common thread:  life is ripe with conflict.

Sure, conflict is what made humans sharper, problem solvers until the last beat. Storytellers know that ultimately conflict alone can float identity through a sea of half-truths, up, up to the surface where the sun plays catch with flying fish. However important our culture of conflict may be, the search for less human pain, suffering, and crisis may also be a story to pursue. A peaceful target to shoot for.

In dramatic movies, the ending may be, in terms of plot, happy or unhappy. In either case, if the story works, the viewer is rewarded with insights into the depths of human life.

The ancient Greeks attended Tragedies more than school, feasting on pop-corn-less morality with cathartic heroes like Oedipus (an unknowing motherfucker) or universal strategists like Ulysses, king of the surprise climax.

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Endings in these stories didn’t seem to matter much. The deus ex machina finale at times gave Gods the task of resolving plot indecision or confusion. This over-the-top device released authors from spending too much stage-time on predictable closing show and tell details. (They lived happily ever after! was another shortcut).  The middle of the story is where it all happened. Development, substance, focus, now.

So, what can we learn about “making our life better” by watching a film story?  It is true that caped Super-heroes are our cultural diet now, just as Commedia dell’Arte theatre masks were dominant wanderers from town to town for four centuries.

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Masks are types. Types embody in broad strokes the infinite relationships among standard folk: the rich man, the poor woman, the young lovers, the old doctor, the cop, the thief, the servant.

It’s all about relationships, stupid.

A film I would watch again is one that leads to my relationship with the story. Titanic was a lesson in teen-age blockbuster making, who would have thought it? Multiple viewings create a relationship, characters become familiar: it’s the key to the new TV series mania.

Note for debate: Characters are not people, but they’re close enough to pretend. Characters stand in a story because the plot says so, and the writer cast them for a role.  No script? No character. They look like people, however. Or should.

This is not the case in real life where life may be scripted but in all likelihood is not very good. Determinists saw destiny play a bigger part than individuals. In the west we famously trust individual agency and will to drive success and failure.

You want to be the big boss man? Slay the dragons. Dominate your universe and plunge forward. Action films seem equivalent to playing Mozart with only Major chords. (Male chords, duh)

I have a preference for the Minor Key in film. Movies that don’t try and impress only with underlined cinematic cartwheeling. I have the same bias meeting people at parties.

If a film reveals a personal insight, I am Up.  If there is a label that explains everything or indicates next to each action, I am turned off. I follow film-makers that make movies that matter, even a little.

As a producer of youth-cinema, I see film conflict not as a medieval head-to-head battle to release adrenaline, but a personal texture, an inside chess game of question marks: where to go? what to do? How? Who with? Well told conflict can be hesitation pure and simple. Or an identity short-circuit. Or lack of clarity, loss of vision. How to take direct action choices, then? Voting can be Hamletic too, in hard times.

Even without a simple top-down final duel on a skyscraper, a film can lead to a character’s foggy melting point, the quiet intersection of dramatic need, desire and urgency in search of identity.

Laurie Anderson and Lou Reed are not film characters.

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Their lingo is story with sound. They quest to stay away from trouble, they are grounded in their shape-shifting personae. Who they want to be? Simple:  happier spending time together.  Popcorn flicks too could explore that engagement vibe.

In the script of life rewritten, I would try reducing, not adding, conflict to stories.  Better conflict, of course, the one worth fighting for without fists and watching with senses aloft. As James Joyce said, the cinema is a “screen of consciousness”.

Luckily I am not afraid of fear, I can smell bullshit from outside the playground, and I still want to hear my kids tell me I was kind. That’s a step towards a better now, even for a callous storyteller like me.

There is already enough conflict to go around in the world.

Danny Alegi is a filmmaker, story development coach and speaker.  Read more of Danny’s blogs at ‘Movies Without Cameras‘.

8 tips for spontaneous performance from Ken Loach

There are as many acting methods out there as there are personal journeys through the craft of story and film. As Ken Loach shares in this video, you get to a method by trial and error until something seems to work and make sense. To get performance that plays as “real”, Ken resorts to techniques familiar to many indie makers: follow the story, not the budget, play the scene not the plot… and more.

This previous text comes from the Berlinale 2013 and the awesome award-winning blog Mentorless.com

Enjoy!

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ken loach

Stop Motion Last Supper by Charlie (the Kaufmans, that is)

Charlie Kaufman (and his brother) is a writer everyone seems to love. When I ask “who’s your favorite screenwriter” usually it’s either Kaufman or Tarantino or “the guy who wrote Seven“.

One of the reasons i think we seem to remember Charlie Kaufman as the author (more than whoever directed) is because he downloads his imagination straight into our gut. His worlds crack open or double up, crumble inside out and upside down, like our very own.

The best way to tell a personal story of truth, according to Federico Fellini, is to invent a whole environment of fiction. Not a dream world necessarily, but a believable make-believe in which the forces of drama embody people. People who fight their own gut instincts, people paralysed by the impossible choices in love and life.

It’s always a pleasure to hear filmmakers like Charlie Kaufman talk with candor and humility.

And – if you haven’t yet – take a look at Charlie Kaufman’s crowdfunded stop-motion animation

“Anomalisa”

+ metaphor, – rethoric. Cuaron on shooting his 3-week screenplay.

@Cinemahead we map scripts because it makes the process of writing less painful and more fun. A story map makes the making-of a script faster, visual, imaginative. Plus, it makes it easy to collaborate.

I ran into this YouTube interview with Alfonso Cuaron, director of “Y Tu Mama Tambien”. Listen to what he has to say about coming up with and directing “Gravity”. He says it was “a script that took three weeks to write”, a story rooted in personal adversities.

yup.

Make money with your wild movie? (no, seriously) Then give it away…

The Digital Recession and the future of video

reposted from http://medium.com/advice-to-graduates/c84d7c799c83?goback=.gde_4292858_member_267996778#%21

twitter: @jimmycthatsme
email: jimmycthatsme@mac.com

In 2011, a speaker at a reputable film festival said to an audience of filmmakers, “the best part about making movies today is that anyone can make movies, and the worst part is also that anyone can make movies”. I turned to inspect the audience because I wondered, as I do still, to whom he was speaking? How could it ever be good for artisans that everyone can make art? What realtor or travel agent is thrilled by new advancements in global connectivity and the democratization of their work? We are all the victims of an imploding digital revolution and although many seem confused about what this means for our future and the pursuit of film as a career, I’d like to be honest about my experiences in the economics of art, where we seem to be heading, and how we might survive the fallout.

Our first short film was seen by over a million people in 140 counties. We recently completed our first feature, screened it at notable film festivals, were approached by distributors, made the front pages of highly trafficked news and video sharing sites, and we are considered successful by many of our peers. In any other industry similar signs might indicate success, but we still have yet to make a dollar from our artwork. Our degrees have cost us 90 thousands dollars a piece, and we have spent the last 4 years in debt for our decision to pursue this craft. Can you imagine if I told you that this was our experience in becoming carpenters? And yet, we are surrounded by a culture that relentlessly encourages a pursuit of the Arts.

The truth is that every year millions of students are graduating off of a cliff, looking for jobs that do not exist, and relying upon paychecks that are becoming increasingly rare. Members of the EU met last week to discuss Europe’s youth unemployment epidemic, what to do with this “lost generation”, and how to fix it.

But there is no fixing it, and here is why:

THE TYPISTS

The invention of the typewriter revolutionized the written word. Schools were founded to teach typing, jobs became plentiful, and an industry was created. People’s livelihoods were founded upon operating these machines and then the American Typewriter was released and it became cheap and easy to type and the entire industry, many years after it’s creation, imploded. Although typing has never been more popular, can you imagine paying someone to type for you? Having devoted their lives to this job, what should the typists do now? You can be certain that people are asking themselves these very questions with respect to the digital revolution, their future livelihoods were based upon technologies that are now or are soon to be outdated, and they worry that they are as well. The modern typewriters are among us, they are digital photo and video cameras, digital music, video, and photo editing software, as well as all other modern technology that makes something we used to pay people for, easier and more accessible, or in other words, ‘less work’. Video production, like typing, has the same future.

This happens naturally. Moore’s law is the mathematic observation that our technological capabilities double roughly every 18 months, which means that we can always expect exponential advancements in industries until nearly all jobs are replaced by technology. In the film industry, with cameras becoming cheaper and easier to use, we can expect that video will only become more democratized until every person in every country is able to participate, adding to the already staggering 24 hours of footage that is uploaded to YouTube every minute. Although this is very promising for the diversity of art on this planet, and is no doubt a global good, it is not promising for anyone that expects to feed their children through a career in film. Jobs are disappearing because the gap between the professional and the average consumer is getting smaller, faster, every day.

Many believe that our governments are in charge of creating jobs, as if that’s their job, or as if they have influence over technological advancements that naturally delete them. As of 2013, the Golden Gate Bridge has no tollbooth operators, they were replaced by a digital camera and online payment system. There is less traffic, shorter commutes, and less tollbooth operators to breathe our exhaust all day. Should our government rehire these people? Should they also hire workers to fan the exhaust out of the tollbooths? It would certainly create more jobs, but the truth is that that job is now unnecessary, and so are the workers, and so will we be.
[…]

Why would anyone pay for something that will be online tomorrow for free?”

THE PROBLEM WITH PIRACY

The amount of digital piracy in a country is correlated to the average internet speed. It would be very time consuming to download Avatar on a dial-up modem, so many in El Salvador will have to buy a hard copy, but Americans often watch movies online for free simply by googling the movie’s title followed by the word “streaming”. As if this isn’t already easy enough, advancements in internet speeds will only make watching movies for free easier, or in my opinion, ubiquitous.

In 2010, a filmmaker friend of mine raised 125,000 dollars from family and friends for a feature film. He submitted it to festivals, received glowing reviews from hundreds of media outlets including Indiewire and Variety, and premiered at the South by Southwest Film Festival. A reliable distributor bought the film, promising a small theatrical release and contractually guaranteed revenue from future sales. Again, this sounds a great deal like success and many filmmakers dream of being in this position; a Hollywood deal, signs of interest, and the potential for financial return and future projects. Months later however, the distributor released the film for sale on iTunes and within days the movie was popping up on free streaming websites like putlocker.com. Within 1 month the film had countless views and it still lives illegally online for free. Many filmmakers suffer this fate, unable to recoup their investment because of the nature of the internet. This is not solely a failure in business, this is a failure to understand the value of art in the digital age. If all that it takes to separate a filmmaker from revenue is one person uploading a copy of their movie to the internet then the future of film is only growing more unpromising.

Steven Spielberg, George Lucas, and Steven Soderbergh have recently spoken at engagements about the terrible state of the film industry, (we can only wonder who guards their piles of money when they climb down from them to speak) and yet none of these successful businessmen enlightened the world to the obvious fact: that it is not the film industry that is collapsing, but the value of video, that overwhelming supply has devalued it as a whole, that cameras in every phone will only further push it off the cliff, that people are becoming less likely to pay for moving images in a rectangle, and that there is no stopping it.

How should we cope with this future?

THE DREAMER’S DISEASE

Many of our peers seem to have rifts in their thinking about the digital revolution, that our future is uncertain, but that considering the negatives might distract from the steadfast pursuit of our work and thus lessen our chances of success. Does considering the reality of our own deaths prevent us from pursuing our lives or living them to the fullest? Of course not, so let’s stop deceiving ourselves that the death of the industry is not a real problem that deserves real answers.

Here is one:

There are many new ways to make money as an independent artist, but it is unlikely that we will make it from our future audiences. In the last year, new ways to approach releasing videos online have made it easier for artists to screen their work for free and still receive adequate funding. The show South Park has been pirated and streamed illegally online for years. South Park did not ignore this, they recognized the problem, created their own streaming site, and partnered with companies like Jack In The Box to stream in HD for free, provided that commercials played throughout the episodes. They weakened the blow of the pirates, made sure that their fans had incentive to visit their site, and all it took was speaking with outside parties for financing. Why can’t we do this?
[…]

THE FUTURE

Should schools still charge so much for things that you can learn on youtube for free? Will anyone be able to in 20 years? When the time comes for my generation to send their children to college, what will they think about the value of an arts education? How can we construct the landscape of the internet to better guarantee opportunities for artists? The current atmosphere is bound to negatively effect future generations, and we owe it to them to fix these problems now.

It would seem that the answers are simple, unique media encryption needs to be implemented on iTunes and Youtube so artists can hold their thieves accountable, Netflix needs to allow users to submit films instead of just distributors, movie theaters need to allow the moviegoers to choose what is playing (not the corporations), and the Academy Awards need to allow for the consideration of films that premiere online. These changes seem obvious, but they can only be made from the top.

If we do nothing and continue to gamble our time and money while dreaming of a viable future, we will only lessen our likelihoods of success and become even larger victims of these pyramid schemes. We cannot allow the industrialization of art to make so much from us when they contribute so little. It is time to rebel, to release films for free and to seek our own monetization. We have arrived at the Gold Rush to find the mines emptied, now is the time to circle the wagons and to fight for it.

twitter: @jimmycthatsme
email: jimmycthatsme@mac.com

Spielberg predicts “implosion” in the film industry.

From the Hollywood reporter:

Steven Spielberg predicted an “implosion” in the film industry is inevitable, whereby a half dozen or so $250 million movies flop at the box office and alter the industry forever. What comes next — or even before then — will be price variances at movie theaters, where “you’re gonna have to pay $25 for the next Iron Man, you’re probably only going to have to pay $7 to see Lincoln.”

George Lucas agreed that massive changes are afoot, including film exhibition morphing somewhat into a Broadway play model, whereby fewer movies are released, they stay in theaters for a year and ticket prices are much higher. His prediction prompted Spielberg to recall that his 1982 film E.T. the Extra-Terrestrial stayed in theaters for a year and four months.

The two legendary filmmakers were speaking at the University of Southern California as part of the festivities surrounding the official opening of the Interactive Media Building, part of the USC School of Cinematic Arts.

Lucas and Spielberg told USC students that they are learning about the industry at an extraordinary time of upheaval, where even proven talents find it difficult to get movies into theaters. Some ideas from young filmmakers “are too fringey for the movies,” Spielberg said. “That’s the big danger, and there’s eventually going to be an implosion — or a big meltdown. There’s going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that’s going to change the paradigm.”

Lucas lamented the high cost of marketing movies and the urge to make them for the masses while ignoring niche audiences. He called cable television “much more adventurous” than film nowadays.