In the
old days a short film showed people what you can do, in terms of the skill of
making a movie. A few names that come to mind that started with tiny movies
that became big directors are Martin Scorsese, Francis Ford Coppola, George
Lucas and the more contemporary Rian Johnson, Colin Travarrow, James Wan, Christopher Nolan and even J.J.
Abrams. J.J. bridged the gap since he was also a writer. Actually started as a
writer. Same as M. Night Shamalan. Writing is the only way you’re going to get
to ride with the big dogs. Short films no longer have that appeal anymore. If
you write a feature script, you should have five ready to go. Don’t let me warn
you again about film school classmates who got tangled in ZERO material.
A recent example were a few filmmaking co-workers I knew a
while back. Nice brothers who put together a great short movie. They were
REALLY nice. The kind of nice that if you spent too much time in Los Angeles,
you think they were fucking with you. Their kindness, I’ve experienced, does
come off as phony. But they genuinely really nice guys.
Anyway, as far as no-budget movies go, it was staggering
what they were able to do with so little. This gained a ton of notice. The fact
that these two also attended USC, a networking behemoth in the Hollywood world,
didn’t hurt their chances either. Their movie got screened repeatedly. Pretty
much everywhere they entered. I thought it was a solid short. When it came time
for their next project, a crowdfunding project to gather money to make a
project, they came with a solid pitch. One brother introduced it on a video
made to sell the idea. The sales pitch was stellar, though the concept was a
little high, I thought that there was nothing these two couldn’t do. I was
sold. But I had a falling out with one of them, and wasn’t even informed of
this until after the fact. That was best for everyone.
They needed $50,000. A tiny sum for a movie. They collected
a total of $2,000. Yes. 2K. You couldn’t even take that money to Tiajuana for a
weekend. That was from friends and families and well-wishers.
I guess you could gather a few thoughts from this. I KNOW
for a fact these two had the skills and the resourcefulness to make another
excellent project. Most likely propel them to the next level. This means people
are full of shit. Even the people who care about you the most. When the rubber
met the road, everyone balked. A simple donation of a few dollars was all it
took. Nope. Nothing. People either didn’t like their projects, hated that they
would move up the rung, or blew smoke up their asses about the previous
project. I wonder if some even took the time to watch it (which judging by the
screening I went to, it was a hit).
This could also mean the total resentment in two very
talented kids who people held in a great deal of regard. Unfortunately, this
business is all about return on investment. And if it’s a passion project, forget
it. It rarely happens. But feel free to try. What I learned from this is that
people are full of absolute shit. And I can’t blame them. Being in movies is
living in a constant dream. It would take a serious asshole to burst their
bubble. Instead, they fill their heads full of confidence. Even though they had
good product, there were few who REALLY gave them the low down of pandering to
the masses. Bummer stories do not pander to the masses. Their stories have sadness.You get the
opportunity to do those when it comes out of your own projects. I really hope
it doesn’t sound like gloating, since it’s more about getting a project made
despite the odds. Albert Brooks mentioned it one time about how if you really
want to hold onto your dignity, you’ll make nickels and dimes and NEVER shill
for the studio, because that system chews so many people up. Since the ones
that care swim upstream (idiots!). I certainly hope a set back of money isn’t
so discouraging to them, as talented people should find a niche.
For my own project, I feel sometimes I should risk more. I
don’t. But I like making movies against what people think I should make.
Granted I don’t have the money to make more than one short at a time, I’m still
afforded the production at a certain leisure.
What’s interesting is that filmmakers like Michael Mann or
Ridley Scott seemed to have fallen into this same category. They have studio
money, with a studio schedule. A little contradictory to Albert Brooks, but…if
your movies made over a billion dollars and countless Oscars, I think you’re
afforded a little time. But, that they take their sweet time polishing it to
their satisfaction. Mann does SO many different edits of his movies, he
destroys assistant editors. I think, to him, he may not want the process to
end. He may not have the next opportunity. The complete product is
heartbreaking. You give your baby to world for others to beat up. And it needs
to stand on its own. It’s grueling. And nerve wracking. Since no one thinks
someone else’s baby is more beautiful than their own. You have to understand, this
journey that began (on average) a year ago, is coming to an end. Good or bad,
there is great sadness in it. It means moving on, despite the small things
about it that drive you nuts. In our disposable society now, things like Vine
videos for instance, moments are enough. Then it goes into the ether.
One thing that has really irked me lately, are the friends I
have who aren’t hustling alongside me in Hollywood. A few film school friends
who seem to have all the answers but refuse to throw their hat into the ring.
Yet, they have THE MOST to say. I think most are too old to suffer mental
breakdowns at this stage of their life. Or sacrifice the tiny grasp of normalcy
in their families. They’re quitters as far as I’m concern. And frankly, if
their not in the mix, they’ll never understand, despite all the well wishing
and bull-plop their opinion may be. Get in to the fight or shut the fuck up.
It’s fucking hard to do this.
Perhaps these are the folks who will champion you at the
public events but quietly, when the tipping basket is passed, they will put in
lint. But again, these are the risks that are free.
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