DIY filmmaking in the middle of nowhere.
From the monthly archives:
Hola Vaniards,
The recent extended weekend ironically did not produce more time for Mike and I to record the radio show. We will be a day late so look for episode #17 on Wednesday. In honor of the Vanish code, we will be falling on our swords. In the meantime , please enjoy this killer performance from my good friend Thia Gonzales. Show some cube!
XX
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The writing’s on the wall. The elephant’s in the room. Yes kids, I got a bee in my bonnet and it’s about to drive the spike. Inspiration is running rampant in the DIY world but the bullshit clouds are blocking the sun.Classism is alive and well in our little filmmaking town. I suppose it was inevitable. Alright, let me catch my breath. Watch the following clip from “Good Will Hunting” while thinking about this scenario: The main players in the scene are DIY filmmakers.
You may not think the DIY spectrum includes filmmakers from both sides of the tracks but I beg to differ. Take the pompous cake boy in the clip. He flaunts the status symbol of taking his future family on a sky trip. Now imagine a filmmaker flaunting the status symbol of going to a VIP party at the Sundance Film Festival.
Let’s go even deeper. The cake boy believes that dishing out a ton of cash to Harvard makes him a professional and paying only minor library fees makes someone an amateur. I see the same thing with filmmaking equipment and software. If a filmmaker uses an expensive camera and a “pro” editing software, then they are professional filmmakers. Using the lower version makes you an amateur.
Complete bullshit.
Your audience isn’t going to laugh, cry or be inspired by your expensive film equipment. The whole thing is about telling a good story.
Don’t listen to the cake boys.
Keep going.
Be original.
Tell your story.
Show some cube.
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The best things are left unsaid. Silence is deafening. Terror comes from what you don’t see.
Whether you call it minimalism or laziness, subtracting elements from your movie can be powerful. (And if you’re a DIY filmmaker, it’s more affordable!)
For an example, let’s take a look at this scene from “Road to Perdition.” Pay special attention to what’s not in the scene.
The following is my list of missing elements:
The missing elements were the source of the scene’s power, and made it one of the great ones in recent memory. A friend of mine who is against violence in movies thought this scene was beautiful. WTFF!
With our Vanish films, we visually allude more than we directly show. We love the contribution of the audience. Their imagination creates a more powerful visual than we could ever afford.
So what do you think? Feeling like doing any math with your movies?
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Miller’s Crossing is my favorite movie. I remember the gas station where I rented it and the amazing experience that followed. By the end of my first viewing, I could explain about three of the 75 things that occurred. I was clueless. But I knew the film was seeping into my pores as I thought about it. Since then, I’ve seen the film at least 50 times. I can recite the opening scene by heart. It’s damn near a part of my identity.
Why was I intrigued in my confusion? Imagine witnessing a fascinating chain of events without any context, leaving it up to you to gather all the pieces of the puzzle and figure it out. Essentially, the film required an investment on my part. I couldn’t be a bystander, waiting to be spoon-fed The film graciously presented a mystery where the characters often knew more than I did. What a killer change of pace!
Here’s the definition for “spoon-feed” in the Merriam dictionary:
1. to feed by means of a spoon.
2. to present (information) so completely as to preclude independent thought
3. the end of “Minority Report.”
OK, so I’m adding a little of my own definition to #3. But seriously! Nothing like a long voiceover exposition for all you morons out there! Ugh. It had great momentum up until that point.
So think about your movie. Are you spoon-feeding? Or are you utilizing the independent thought of your audience?
I know which movie I’m watching. How about you? Let us know in the comments.
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Recently I watched the behind the scenes for Clockwork Orange. As Kubrick and his crew worked on the violent break-in and assault scene, it wasn’t working. The choreography was down and the energy was up but no spark. Kubrick asked Malcolm McDowell if he knew any songs. The only one he knew by heart was “Singing in the Rain”…
The stickiest pieces of a film become iconic. The bits of dialogue viewers recite a month later. The OMG moments described at the water cooler. These icons stick in their membrane, providing guidance like the North Star.
Make a point to create these powerful elements for your film. Here’s a couple ways to do it:
1. Ad-libbing
I know you may have to fight with your ego on this one. But remember Roy Schneider ad-libbed “We’re gonna need a bigger boat.” Same goes for the whole “You lookin’ at me?” scene from Taxi Driver. If it makes you uncomfortable, just do a few “crazy” takes with your actors. You may like what you see.
2. Twist ending
Vanish has an affinity towards this one. If you can pull it off, you will ride the wave for awhile. Movies with modest budgets have made millions on this strategy. Kaiser Soze anyone?
3. Distort Hollywood norms
A couple of killers talking about foot massages before a hit. A teenage boy and an old lady falling in love. A whodunnit told backwards. A revenge flick about forgiveness. Twist the norm and your film may stick out like a sore thumb.
Please comment with any other strategies for stickin’ like super glue.
And make sure to watch my friend Jeff Hiller in this clip:
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Soundtracks, banana salads, no sh** Sherlock, Bessie! and the Passion of Peter Gabriel
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We got it good at Vanish. Really good. As I talk with other independent filmmakers, I realize our defined roles and responsibilities veer far from the norm. In the DIY world, many filmmakers are on their own. Whether it be lack of contacts or resources, they have to go this route. If you dig a little deeper, you’ll find many filmmakers want it this way because they may lose their vision as a result of collaboration. This is a valid fear. However, this comes with a heavy price.
When you’re doing everything, where do you find the time to get great at everything? In the book “Outliers,” Malcolm Gladwell quotes neurologist Daniel Levitin, who says that scientific studies show that 10,000 hours are required to achieve the level of mastery associated with being a world-class expert. One could make the argument that 10,000 hours of independent filmmaking will make you a expert. I disagree. Here is a list of full-time professions that a lone DIY filmmaker usually takes on:
If you want to work on everything, you’re looking at 50,000 – 60,000 hours of practice to become an expert. Yikes.
What if your screenwriting kicks ass but your directing fails to represent it well? What if you shot a wicked movie but the audience is completely distracted by your music? In the making of “Star Wars,” they confess that the first edit of the original film was completely boring! Luckily they reworked their footage and found their stride. Filmmaking is a fine-oiled machine. If one element is in the wrong, you can sink your whole ship.
Let’s be realistic here. Vanish Productions is a no-budget, DIY filmmaking venture on a far distant planet away from the projects in the previous paragraph. But I’m only referring to them to make a point. Our stress level is reduced because Mike focuses the directing and editing, Trista does the producing, and I focus on the writing and occasional acting, if needed. Furthermore, before we move forward with any element, we offer suggestions and ultimately sign off on each other’s work.
It’s all based on one extremely important concept: TRUST. Mike trusts that I will write something he wants to direct. I trust Mike will direct in a way that brings the script to life. And we both trust that Trista will cover the logistics.
It also helps that Mike hates writing, my thumb appears in anything I shoot with a camera, and Trista prefers to make phone calls while Mike and I pontificate about a hypothesis. Yes, I consider Vanish lucky.
Now on a more serious note, check out this video (it will play clear):
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If you’re a DIY filmmaker, you’ve probably seen “American Movie.” The documentary focuses on a filmmaker trying to make a short movie against all odds. This award winning feature is not focused on the story of his movie, but the story of his journey making the movie. The hook of a guy in rural Wisconsin with little money doing everything he can to make his movie is remarkable and inspiring. Your focus should be on your film but don’t forget about the story surrounding your film.
Start listing your favorite cult movies and you will find many with a compelling situations and events. Here’s a few that came to mind:
1. El Mariachi – Robert Rodriguez made this amazing movie for about $7,000 and raised this relatively small amount of money by participating in medical experiments.
2. Apocalypse Now - Francis Ford Copolla threw everything he owned into making the film and in the process almost went bankrupt and gave Martin Sheen a heart attack. Watch it all in the great documentary “Hearts of Darkness.”
3. Eraserhead – David Lynch spent three years making this movie by shooting it on weekends.
Do you have any remarkable stories? Blog about it. Do behind-the-scenes interviews. Share your films along with the stories of making your films. People love hearing and reading about it. Hell, the story of our failed attempt to film a haunted house documentary was buzzing like crazy…and we didn’t even have a movie!
Care to share any stories? If so, show some cube in the comments.
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Haunted houses revisited, rough puffs, Korean spaghetti westerns, Butter Beans, and Cloud Cult
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