Please read this. All of it.
Thanks Johnny. And thank you, Vaniards.
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Last year I heard rumblings about the movie “JCVD.” It starred Jean Claude Van Damme and he played himself, obviously in the twilight of a strange career. People said it wasn’t the usual fare and he was quite good. Yeah yeah yeah. This guy was good?
So I went on with my life but then one day I ran into it at a Redbox station. Nothing else grabbed me so I forked over a dollar for it. The movie started with a vibe I wasn’t expecting and continued throughout. However, I was completely surprised halfway through the film. The following scene is a bit surreal and it doesn’t advance the story (Jean Claude being held hostage in a Belgium post office). But it makes the whole movie.
Maybe your opinion varies from mine but I thought he delivered in spades. According to Science Daily, unexpected events are more likely to be remembered than typical events. Remember the ending to “Seven?” Most people tried to forget without success. I still think about this scene from JCVD and how much I respect the filmmakers and star.
My point? The element of surprise is very sticky. No matter if your audience loves it or hates it.
So surprise us. Show some cube.
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Hola Vaniards -
The dust hasn’t settled but our minds are made up. We couldn’t stay away from your beautiful faces. The Vanish train is rolling down the tracks again with growing momentum. The pace is slower so we can enjoy the views a bit more.
Here’s the deal. Mike and I recorded a new podcast last night. It was fun and chaotic as usual. Look for it tomorrow night. We’re going to try every other week and see how it goes. I’ll try to put up a post of my rants on a weekly basis.
As for movies, something could happen when the snow starts melting. We have no idea yet. We’ll see where the train takes us.
Thanks for hanging in there Vaniards. If you’re in the Minneapolis area on Saturday around noon, swing by the Minneapolis College of Art and Design to see “Sweet Damnation” on the big screen. It’ll be a hot time in the old town.
Now a little something for all those evil doers out there. I’m talking to you, pal!
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I saw “Smoke” several years ago and this scene still haunts me. Or inspires me – it matters the day. Everyone can learn from Auggie and his photography project. His life’s work may seem simplistic but look a little deeper. The importance and complexity of his project shines throughout the scene.
This is Auggie’s corner. He doesn’t care what anybody says. He lives and works here, so he is going to document it for the world. Many (including William Hurt) question the importance of a city street corner. This doesn’t phase Auggie in the slightest. The corner has a special place in his heart and he wants to share it. His passion, his corner.
But the thing that gets me is the unexpected emotional reaction of William Hurt’s character. He sees this mundane project and then gets cold-clocked by the thing. You need to soak this in. One of the most amazing and rewarding thing about creating is that you have no idea how it will affect people. A friend of mine enjoyed “Sweet Damnation” because the characters resembled her crew from college. It made her happy to think about that time of her life again.
Cool stuff people. Check out “Smoke.” Then do your thing.
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This video is killer with no filler. And that get-up is so much cooler than a brand new Fender. It’s not a slick, mass produced guitar. Rather, it’s a homegrown, junkyard ball-buster. Completely original and inspiring.
Thinking about your art, are you willing to scour the scraps or dig in the dirt to find your masterpiece? Or are you stuck in the rut of looking for the nicest Fender guitars? The people that scowl or laugh at Jack’s guitar are completely out of the creative loop while they think they’re at the center of it. Don’t go there. Play in the mud. Seek out the junkyards and bring the elements back to life.
That’s power.
That’s remarkable.
That’s a spicy meatball.
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I’m reading an oral history of one of my favorite bands, The Replacements. Good stuff. I came across this quote from lead singer Paul Westerberg:
“Where is it written? Where is it written that you have to pay your dues before you make a record?”
He was referring to the fact that the band was signed very quickly, which rubbed the “purists” the wrong way. I love the quote because it strikes a loud chord. There are many unwritten rules out there. Most are completely useless. One day at work I was confronted by a co-worker about my attire. I was wearing a white shirt, dress pants, red socks and black shoes.
“What do your socks match?” she asked.
“Each other,” I replied.
“They’re supposed to match something else you’re wearing.”
“Where is that written?”
She should be happy they matched each other! Anyways, there’s a bad case of the “supposed to’s” going around. The filmmaking world is no exception. Unless you’re severely breaking the law, anything goes. Unwritten “laws” will not stop you from creating a script, picking up an ordinary camera and shooting a movie. People will try to get in your way to lay down the law. They have no jurisdiction. It’s more likely you’re a threat to their world of unwritten rules. Go for it. Bust down the door and take no prisoners. We want to see your movie, your book, your painting, your album, your knitting, your poetry, your sculpture, your blog, your design, your drawing, your performance, and your photographs because they come from you. Fight the law!
You know the phrase…
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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:
- No visual of the shooter; only the flashes from the gun barrel.
- No sounds of gunshots during the massacre.
- No screams of the dying men.
- No movement from Paul Newman’s character as the gunshots blaze.
- Only one line of dialogue! But it’s so good that it sums up the theme of the whole movie.
- No shot of Paul Newman getting shot and falling to the ground. You only follow the eyes of Tom Hanks.
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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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:
- Director
- Screenwriter
- Editor
- Producer
- Musical Composer
- Actor (possibly)
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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Website secrets, o boy bombers, Mexican fairy tales, heavy bellies and Gogol Bordello
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Last night I saw Gogol Bordello for the 5th time. Leading up to the show, I wondered if there would come a time where these guys wouldn’t blow my mind. I now know that day will never arrive. I’ve seen many great bands at Red Rocks and other venues throughout my years and my five favorite shows of all time are all Gogol Bordello shows. I don’t think anybody can touch them. More importantly, their explosive movement inspires me every time I experience it. I want to make movies more than ever after a Gogol show. Here’s why:
Vision
- Romanian folk music mixed with punk?
- A banshee-like lead singer with a stunning handlebar mustache who will play a bucket on a microphone?
- A mobile violin player on the other side of 50 who wears a Slayer muscle shirt?
- A dub-influenced rapper?
- An accordion player who burns the ax like a madman?
- A pair of women in killer workout gear running around the stage playing hand cymbals and a marching band bass drum?
Are you kidding me? I think they got this area covered.
Passion
I’ve attended too many shows where the artists just dial it in. I have never (and will never) put a Gogol show in this department. They live for this shit! You can see it and feel it. They want to be nowhere else than in some strange town blasting a heat wave for two hours. You feel like they’re giving you everything…because they are.
Energy
You may think this is the same as passion but I disagree. Passion is the sun and energy is the heat from the sun. Take a look at the video above again. Imagine what that is like when you’re in the same room as these guys. Gogol literally gets the whole crowd bouncing up and down, alive with crazy energy. The whole crew brings the energy all the time, every time.
You can do this with your art and creativity! You have a vision, you have passion, and you exude energy about your art. If you ever question the possibilities, go see Gogol Bordello. I’m confident you’ll see they are endless.
So do your own thing! Show some cube! And start wearing purple…
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Have you ever heard a song that gives off such a visual vibe that you can actually smell the environment? Some songs have this power. I listen to music constantly, hoping to find the killer neurons. They can be the catalyst for an outburst of creativity. For our filmmaking ventures, I use music to create something I call emotional circumstances. In order to produce them, you have to dig deep into the mental visuals that accompany the music and ask what the visuals feel like. Here’s a few examples:
Wolf Like Me – TV on the Radio
It feels like I don’t know what’s better – the thrill of the hunt or the fear of being hunted.
God’s Gonna Cut You Down – Johnny Cash
It feels like the wheels are about to come off the hinges and I’m too tired to rationalize it.
Give It Up Or Turnit A Loose (Remix) – James Brown
It feels like I’m starting to shiver from the excitement, or vice versa. I got to move.
Hoppípolla – Sigur Ros
It feels like a military ceremony where sorrow is official surrendering to hope.
White Chalk – PJ Harvey
It feels like I’m breathing down the back of my own neck.
After documenting several emotional circumstances, I think about the locations we have available to shoot a film. Then I place one of them in this specific location. An idea may not present itself immediately but an atmosphere will be there. This is fertile soil for great story ideas.
Joan Jett’s “Do You Wanna Touch Me?” produced the emotional circumstance that led to “Sweet Damnation.” Oh yeah!
So what music inspires you in your creative endeavors? Hit it with some comments…
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