Zen Filmmaking Understanding the Cinematic Art By Scott Shaw

Author’s Note: It never ceases to amaze me—the ongoing discussion people have regarding the birth, ideology, and the techniques of Zen Filmmaking. …I get questions all the time. To provide some basic answers, here is an article I wrote about a decade ago on the subject—for those of you who have wondered…

 By Scott Shaw

            I think it is almost essential that I write a few words about Zen Filmmaking, its origin, and just what is or is not a Zen Film. This is due to the fact that over the past few years I have been deluged with questions about the essence and the truth of Zen Filmmaking.

            Mostly, these few words are for those of you who have heard about Zen Filmmaking somewhere on the internet, or from a friend, and have not read my book on the subject, Zen Filmmaking, which pretty much spells it all out from A to Z.

History
            The birth of Zen Filmmaking came about when Donald G. Jackson and I were making the film The Roller Blade Seven in 1991. The Roller Blade Seven began in much the same way as most films. Don had obtained financing for a film and he wanted to continue the concept he had developed in his film Roller Blade and its sequel Roller Blade Warriors. He wanted to take the concept to the next level and create a martial art driven epic film. He asked me to come on board, co-produce, co-write, choreograph the martial arts, and star in the film. Upon our entering into pre-production, our Executive Producer wanted to see what we planned to film. So, Don asked me to write a screenplay—which I did. If you would like to read this screenplay you can pick up my book, The Screenplays.

            The impetus for the birth of Zen Filmmaking occurred after the first weekend of production on The Roller Blade Seven. Don and I were very disappointed with the performances of the massive cast we had hired to take part in the film. We looked at each other and realized that the majority of them did not have the talent to truly pull-off the roll of the character they had been assigned. With this, we came to a realization to just go out and film the movie, not expect anything from our cast and crew, and make up the story as we went along. After a few days of this style of production, I had a realization, based in my lifelong involvement with eastern mysticism. I looked at Don and said, “This is Zen. This is Zen Filmmaking.” And, that was it. That was the creation of the term, the title, and the style. Zen Filmmaking was born. And, from that moment forward, I began to define and refine Zen Filmmaking—making it both an Art Form and a Science. From that point onward I have moved forward and continued to refine the process of Zen Filmmaking.

            After we completed The Roller Blade Seven and its sequel Return of the Roller Blade Seven, Don and I went our separate ways for several years. I immediately went into production on the Zen Film, Samurai Vampire Bikers from Hell. Don returned to predominantly screenplay—based productions. In 1995 we reconnected and again set on the path of Zen Filmmaking, as a team. From this, we created a number of Zen Films together.

Just What is a Zen Film?

            Many people believe that Zen Filmmaking is simply based upon the fact that no screenplay is used in the creation of a Zen Film. Though this is the basis for Zen Filmmaking, in reality it is much more than this.

            Many people ask, “Why no script?” Well, there are a few reasons for this. First of all, and perhaps most importantly, from a philosophic perspective, screenplays keep you locked into a stagnate mindset. If your film is created around a screenplay, then your cast and crew are very reluctant to allow things to change. But, if you go into a project with simply an overview of a story idea, then your project becomes free and new inspiration is allowed to occur at any moment. And, believe me, from someone who has made a lot of films, you never know what new inspiration will strike or what GREAT unexpected situation will present itself when you get to your location, have your cast in place, and are open minded about what you will actually film.

            The other reason to not use a screenplay is based upon the fact that in your mind’s eye you can write a great story, have it set in elaborate locations, and acted out by great actors. For anyone who has ever been on a low-budget movie set, you quickly see that this is not the case. So, what occurs by writing an elaborate screenplay is that you are only setting yourself up for disappointment. But, with no screenplay, you are free. Any production is allowed to happen as it happens and become what it becomes.

The Six Tenets of Zen Filmmaking:

            Though Zen Filmmaking is based upon the concepts of creative freedom and cinematic spontaneity, this does not mean that Zen Filmmaking has no foundational elements. To help define Zen Filmmaking, I designed, The Six Tenets of Zen Filmmaking. They are:

1. Make all unpredicted situations work to your advantage.

2. Don't waste time, money, and energy attempting to create your sets when you don't have to. Instead, travel to them and allow their natural aesthetics to become a part of your film.

3. Just do it! Ninety-nine percent of the time you can get away with it.

4. Never let your storyline dominate your artistic vision. Too many would be filmmakers attempt to write what they believe is a, “Good Script,” and then try to film it. Without an unlimited budget it is virtually impossible to get what is on the page on the stage.

5. Zen Filmmaking is a spontaneous process. Just as the Zen understanding of enlightenment teaches that though you may meditate for years, it is not until the moment when you step beyond your thinking mind and realize that you are already enlightened that you achieve Satori. Thus, if you acutely plan your productions, with screenplays, storyboards, and locations, there is no room for the instantaneousness of Cinematic Enlightenment to occur and you will always be lost between the way your mind desired a scene to be and the way it actually turns out.

6. Ultimately, in Zen Filmmaking nothing is desired and, thus, all outcomes are perfect.

Make it Your Own!

            I am continually asked, “What do I think about other people making films and calling them Zen Films?” Or, “What do I think about people using my concept of Zen Filmmaking.” To answer, I think it's great! The entire reason I have continued to focus on Zen Filmmaking, for so many years, is to make the process of filmmaking easier, more joyous, and provide all filmmakers, (not only myself), with a means of creating a film while encountering the minimal amount of disappointments with the finished product.

            So, if you want to call your film a Zen Film, do it! That's fine with me. Moreover, make Zen Filmmaking your own. There are no hard and fast rules in Zen Filmmaking. I frequently receive questions asking if it is okay to change the process a little bit. As I always answer, “Of course, do what works for you. Make Zen Filmmaking your own! Take my philosophies and alter them to work for you, your film, and your filmmaking situation.”

Donald G. Jackson and Me

            I often receive e-mails from people assuming that all of the films Donald G. Jackson were Zen Films. This is not the case. Though my meeting and filmmaking collaborations with Donald G. Jackson set the course of Zen Filmmaking into motion, he was not the creator of Zen Filmmaking. That was me. In fact, virtually all of the films he created, that I was not directly associated with, were screenplay-based productions. And, this is in direct contrast to the primary premise of Zen Filmmaking—that no screenplay should be used in the creation of a film. So, all of you people out there who are discussing the fact that films like Hell Comes to Frogtown, Return to Frogtown, Roller Blade, Roller Blade Warriors, and even such obscure Donald G. Jackson films such as Rollergator and Big Sister 2000 are Zen Films, you are incorrect. These films were all script-based films that were written by one of Donald G. Jackson's friends, most notably Randy Frakes or Mark Williams.

Critique
            From the questions I receive about Zen Filmmaking, I have come to realize that there is a big misconception about the reasoning behind Zen Filmmaking and the actual method used in this style of cinematic creation. Mostly I have come to understand that many people just don't get it. Most people assume that simply because the process of Zen Filmmaking is a script-less form of cinematic creation, that means that a Zen Film is simply a mishmash of image and scenes strung together. And, people have used this misunderstanding as a means for criticizing Zen Films. They are really missing the point. Though there are no scripts used in a Zen Film, the process of creating a Zen Film is a very conscious process—a process that very few filmmakers could, in fact, ever employ due to the fact that it is a very refined method of filmmaking that is complicated in its simplicity. That is a very Zen statement, I know. But, the abstract nature of Zen is at the heart of Zen Filmmaking. Most people need structure and guidelines but structure and guidelines are never relied upon in Zen Filmmaking.

            Imagine, having the mental focus, as a filmmaker, to create a film that tells a story and do so without any written dialogue or scene descriptions. Just like Zazen, (Zen meditation), the focus it takes to create a Zen Film is a refined/developed ability that few people have the mental wherewithal to achieve.

            Though the essence of Zen Filmmaking is based upon the understanding of never relaying upon the formalized structure of using a script, or any other limiting method of story dissemination to create a film for that matter, there is much more to Zen Filmmaking than simply that. At the heart of Zen Filmmaking is the spiritual essence of Zen—understanding that all life is a pathway to Nirvana. And, that we ALL are already enlightened—we simply need to realize it. Therefore, in truth, Zen Filmmaking is not simply a process of filmmaking. It is, in fact, a formalized practice of meditation leading to cinematic enlightenment. How do you achieve this? Let go and you will know.

            This being stated, if you want to read a more nuts-and-bolts on-line article about Zen Filmmaking, you can click over to an article I wrote, Just do it! The Art of Zen Filmmaking or view a discussion that is up on YouTube where Don and I detail the basics about Zen Filmmaking during an interview. Also, here is a link to a fun little improv piece Don did on Zen Filmmaking. I discovered this piece about a year after his passing. Finally, here is Donald G. Jackson embracing his feelings about his filmmaking in the purest sense.

            I trust these words will more precisely explain the essence of Zen Filmmaking for those of you have wondered. For everyone else, either read the book or keep the questions coming. I will try to answer them as best as I can…

Copyright © 2007 — All Rights Reserve

 

Zen Filmmaking: Understanding the Cinematic Art @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Would Your Ever Make Another Roller Blade Seven? By Scott Shaw

 

By Scott Shaw

Here is an article I wrote a couple of years ago. As I have recently been asked this question several times I thought I would repost it here.

            “Would you ever make another Roller Blade Seven?” I get asked this question fairly frequently. In fact, as RB7 was recently named number twenty- seven of, “The One-Hundred Best B-Movies of All Time,” by Pulse Magazine, (thanks guys), I have been asked that question several times this week. Last year the question was asked a lot when I was named number ten on the list, The Best Movie Trash Creators on imdb.com.

            To answer, “Yes, I would.” In fact, I would love to make another film of that caliber. The problem is, what we did then, for relatively little money, would be very-very expensive to do today.

            Don Jackson and I made Roller Blade Seven and Return of the Roller Blade Seven for about thirty-thousand dollars. We shot it on 16mm and doing that, in itself, is not cheap. During the production our executive producer had us add extra, “Name Talent,” which wasn’t in the original deal. We had set the Name Talent standard at two: Don Stroud and William Smith. But, she kept getting new ideas so the money went out: Karen Black (RIP) was $3,000.00 and Frank Stallone was $6,000.00. Now, I was happy to work with both of these people, as they are both very talented actor, but they did cost money.

            More than that though, when we made RB7 it was a different time in the film industry. People wanted to be a part of something. So, virtually every person who was in the film, including myself, was paid no money for his or her participation. But, they were happy to do it. I mean if you look at some of the scenes, there were upwards of over fifty people in one shot. They were all great and very nice people. I say, “Thank you,” to each and every one of them.

            Also, we shot RB7 with no filming permits. We would simply go to the locations we had picked and film.

            It was a different time. You could do things like that. At one point, when we were shooting out in the desert, a sheriff’s helicopter landed to check us out. As long as we had no guns, which we didn’t, they were all good. They flew off and filming continued...

            Since 911, everything has gotten sketchy, however. It is much harder, if not impossible, to shoot with that many people with out getting filming permits, renting the location, and all that entails... Hell, it’s hard to shoot with even a couple of people nowadays. Which means, it would cost a lot of money to bring a film like RB7 up again.

            Now, RB7 was not without its problems. Though I wrote a long chapter about the production of the film in my book, Zen Filmmaking, I plan to write another article, “Roller Blade Seven: Darkness in the Light,” or maybe even an entire book on the subject about all the positive and all the negative things that took place during filming and post production of the film; including the fact, I was totally broke by the end of the production, so much so that I had to sell my 1934 D’Angelico New Yorker, just to survive. A guitar I have never been able to replace. And, that’s just one story... A lot of shit went down before, during, and after production. There are a lot of untold stories to tell…

            But... All this being said, people still watch and talk about the film and that is great! Many hate it, calling it one of the worst films ever made. Maybe... But, many also like it. They love the bizarre, psychedelic, abstract nature of the first Zen Film.

            In closing, “Would I ever make another Roller Blade Seven?” Sure, I would love to do another Roller Blade Seven. In fact, Don and I planned to do the next chapter as, Wheelzone Rangers. But, we got distracted and made other films; both individually and as a team and never got around to doing it. Then, he passed away and all that is left of the Zen Filmmaking team is myself.

            All this being said, if someone out there has the money, a lot of it, (I know I don’t), and would like to finance another bizarre wild ride into the Wheelzone, give me a call. I am willing and I am available. :-)

Copyright © 2014—All Rights Reserved

The Roller Blade Seven @ Scott Shaw.com

 Scott Shaw Zen Filmmaking

Zen Filmmaking By Scott Shaw

I was recently asked a question about the theory and the possible downside of Zen Filmmaking. My answer pretty much sums up thoughts on the subject. This was my response: 

            Zen Filmmaking is really about freedom – it’s about freeing up the entire process of filmmaking and allowing the inspiration of the moment to be the only guide. As Donald G. Jackson and I both agreed, “All the stories have already been told,” so why bother attempting to tell a story, with a limited budget, that has been far better depicted in a high-dollar film? But, more to the point, to go into a filmmaking project with a formalized script leaves the filmmaker left simply trying to reenact what is written upon the page instead of allowing spontaneous, true artistic creativity to be the guide in a film’s creation.

            The downside to Zen Filmmaking, (if you can call it that), is that there is little story structure.  Some finished Zen Films end up with a much more coherent storyline than others. But, story structure is not the sourcepoint for creation in Zen Filmmaking. As a Zen Film is formulated at the editing stage, you are never quite sure what you will end up with. For some filmmakers they love this freedom. But, for the average filmmaker and for the typical movie going audience, they may not. 

            Zen Filmmaking is about art and spiritually-based artistic expression, while waiting for those moments of cinematic satori. It is not about structure, nor is it about catering to what a particular member of the audience may be expecting or looking for. Zen Filmmaking is cinematic freedom created by capturing moving images. 

 

Copyright 2016 All Rights Reserved

 

Scott Shaw Zen Filmmaking

Zen Film Movies in the Moment By Scott Shaw

By Scott Shaw

            As I often detail, life is lived in the moment. Our life is made up of days, weeks, years, decades, but it is the precise occurrences that take place within specific moments of our life that we live to the utmost and truly remember.

            From a filmmaking perspective, when a movie is moving being filmed, we shoot all kinds of footage to bring together and create a feature film. For those of us who are cinematographers we try to capture images in the best and most artistic manner possible. For those of us who have edited movies, there is no doubt, we have seen specific moments within the entirety of the filmed footage that are truly interesting; presenting a visually stimulating image and possibly even giving birth to cinematic satori. As the editor of the film, perhaps that image is beautiful or thought-provoking but as it contributes nothing to the greater whole of the film being constructed, that scene is left behind and probably lost forever. 

            Zen Filmmaking is ultimately about forging a pathway to cinematic enlightenment. It is about taking the art form of filmmaking and creating something artistic, interesting, and mentally stimulating, while removing as many preconceived notions and obstacles as possible.

            Zen filmmaking is not a stagnate entity. It is forever evolving.

            More recently, the evolution of Zen Filmmaking involved the Non-Narrative Zen Film. Now, the next evolution of Zen Filmmaking is, “Movies in the Moment.”  What is a Zen Film: Movie in the Moment?  It is capturing a moving image, whether intentionally or not, and allowing it to find its own perfection on the screen. Whether this moving image exists in its own perfection for a few seconds or a couple of minutes it is allowed to be whole and complete onto itself; seeking no definition other than letting it be what it is.

            In traditional filmmaking you conceive, stage, light, and then film your subject. This is not the case with a Zen Film: Movie in the Moment. For a Movie in the Moment exists in its own perfection. It is simply you, as the witness, seeing the art and capturing it.

            In today’s world, capturing moving images has become as immediate as those transient images themselves. As such, a Zen Film: Movie in the Moment is the perfect art form for today.  It is free, it is easy, it holds no rules, no definitions, and it is perfect onto itself. It it simply the artistic vision of the individual who notices, realizes, and then films what is taking place.  

            Let your creative mind wander and when you a witness a moment that should be captured, do it. Create art.

            At the Zen Film Movies in the Moment Playlist on the Scott Shaw Zen Filmmaking page on YouTube you can see some of the images I have grabbed and cast to eternity.

            No rules. No definition. No Judgment. Just art.

Copyright © 2016 – All Rights Reserved

 

Scott Shaw Zen Filmmaking

Making Something Out of Nothing By Scott Shaw

By Scott Shaw

            The world of filmmaking is something that is entered into by very few people. Yes, most everyone watches films and many have their opinions about the films that they have seen but few people have the creativity, desire, focus, and the fortitude to actually make a film. It is not easy.

            I often speak about how filmmaking was much harder and way more expensive a decade or two ago. Back then, before the digital revolution, everything was shot on film. And, when shooting on film you could never see what you had actually captured until that film was developed and put into a format where it could be viewed. Then, you had to sync the sound and edit the footage. All, very expensive. 

            The formula was, you could calculate approximately $1,000.00 a minute to shoot a 16mm film. As a feature length film is eighty-two minutes plus, you would basically calculate a $90,000.00 budget to complete an independent feature film. When we created Roller Blade Seven in 16mm for $30,000.00 it was quite an accomplishment and almost unheard of.  

            Then came the video revolution and next the digital revolution. People have now shot entire feature films, that have been shown on the silver screen, on their iPhone. Not only has filmmaking become exponentially cheaper, it is vastly more easily done, as well.

            All this being said, though filmmaking has become much easier and cheaper, still very few people step up to the filmmaking plate and actually create a feature length film. Yes, people talk and talk about the films other people have created. Some say, “They could do it better.” Some even state that, “Someday,” they will make their own. But, that someday never comes. All they do is talk.

            At the heart of filmmaking is creating something out of nothing. You have an idea for a film and then you find a way to get that film made both financially and technically. Then, you put together the cast and the crew and you actually create the vision that is your mind. Can you do that? Few people have.

            Here lies the essence of the arts. This is the factor that defines the true artist from those who all they have is their words.  An artist envisions their art, then they find a way to create their art. It is not easy. It takes a lot of work. It takes a lot of focused creative energy. But, once it is done, it is done, and art has been created. Loved or hated is not the sourcepoint of art. The creating of the art is the sourcepoint of the art and very few can actually do that. So, all we are left with is those who talk about the art others have created.

            Who are you? How do you live your life? Is your life defined by talking about the creations of others or is your life defined by creating your own art? Are you someone who can actually make something out of nothing?

Copyright © 2016 – All Rights Reserved

 

Making Something Out of Nothing @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Film Reviewers: Fact or Fiction By Scott Shaw

By Scott Shaw

            Ever since I first got into the filmmaking game I quickly began to realize that a lot of the magazines and even the authors of books put out fiction and claimed it to be fact. This has really intensified at the point when everybody got a voice on the internet. You don’t have to have any credentials anymore, so all kinds of people began saying all kinds of things – many of which had absolutely no basis in fact.

            When magazines and books began to discuss my films, back in the early 1990s, I quickly realized that many of them did not check their facts at all! They were stating a lot of things about my films, their development, who did what, and why, and all the etcetera… But, they were totally wrong!

      I think most people do not realize this. They read what they read and instantly believe it. It’s in a magazine, it’s in a book, or even, it’s on a website – it must be true; right? No, many times it is not.

      And then, reviewers have gone on to misquote me and my associates; taking our words out of context, and then writing a whole piece about what we or I said in order to get their own point of view across and somehow gain validity for it by jumbling the words of their source. That is just hatchet journalism. And, I can say that with some authority as I have had well over a thousand articles published and none of my editors would ever have let me do that.

            I have long thought to write a piece titled, “Reviewing the Reviewers.” I am sure I will get around to that a some point.

      Perhaps the biggest fault of those who write on the subject of film is that they base what they write upon their own appraisal of a project. They are not so much presenting the reality of the film or of a filmmaker’s process but, instead, they write what they think about the project and then disguise it as a literally discussion.

            A few of the funny things that come to mind that authors and reviewers have gotten totally wrong about my films are: one author totally got the title of The Roller Blade Seven wrong in his book, “Blade of the Roller Seven.” One magazine article, said that the frog masks we used in Max Hell Frog Warrior were poor imitations of the ones uses in Hell Comes to Frogtown. In fact, they were the exact same masks! One author claimed that the Asia scenes in Undercover X were actually filmed in L.A.’s Chinatown. I guess he didn’t take the time to read the writing on the signs or view the license plates on the cars. That was Tokyo and Seoul! One of the funniest, at least to me, was one author in his book detailed that one of the lead characters in Killer: Dead or Alive was my wife. I’m sure the actress that played that part was surprised to find out that we were married.

      Those are just a few examples… It goes on all over the place.

      And, on the internet, oh my god! The totally wrong things that they write and say…

      Personally, I find all of this amusing. Some of my filmmaking friends are not so jovial as I am and get really upset.

      But, this is the reality of life. People say or write what they write from their own perspective. And now, in the digital age, Andy Warhol’s prediction has come to pass, “Everybody gets fifteen minutes of fame.” Some people just choose to gain theirs by reviewing and discussing the works of others. And, in many cases, they base what they say upon fiction, not fact.

Copyright © 2009 – All Rights Reserved

Film Reviews: Fact or Fiction @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Everybody Talks About the Films but Nobody Studies the Films By Scott Shaw

By Scott Shaw

            I forever find it curious that whenever I hear or read about what people are saying about the Zen Films of Scott Shaw they are virtually always completely wrong. Some have gone to extended lengths to describe and discuss the films I have made but they are completely missing the point. Some love them, some hate them, and, all that is fine with me — that is their opinion. But, no one ever studies the films.

            From a personal perspective, I can tell you that from the time I was young I would watch films very carefully. I would notice things about them that I would later realize were completely missed by others. There are mistakes in continuity, changes in lighting between the various takes, wardrobe differences, actors looking at the camera, and the list goes on. But, I never saw those as filmmaking flaws, I simply saw them as part and parcel of the filmmaking process. By observing a film in this manner, it truly makes the watching of that movie very intriguing to me.

            Again, from a personal perspective, I can categorically state that I have never attempted to make a traditional film. From my experience, a traditional film, that will play well to a traditional film going audience, costs a lot of money as you have to play to their preconceived notions about what a film is supposed to be. As I have never had a high budget in my filmmaking endeavors, I have never attempted to walk down that road — though some of the people I have worked with have attempted to guide me in a more traditional direction in my filmmaking practices. But, that is just not who I am. And, when you make the kind of films that I make, criticism can be expected as people project their own likes, expectations, and preconceived notions onto their viewing experience. I accept that.

            All this being stated, what I can say is that within the spontaneity, freedom, and magic of Zen Filmmaking every film that I have ever created has been done so with a very clear focus of message, (based upon budgetary constrains, of course). You may love what I do. You may hate what I do. You may issue praise or cast criticism. That’s all fine with me. But, what most people never seems to do is to actually study the films I make. They never look for the subtleties. They simply look to the obvious. And, by viewing my Zen Films in this manner, they are really missing the whole point.

            …I mean, come on! These are Zen Films, what do you expect to see when you sit down to watch them?

            As the filmmaker, I could point to each element of what one should be looking for in each scene of my films. But, what would be the fun of that? This is Zen Filmmaking and that is all part of the process; finding the hidden meaning, revealing to yourself what is hiding beneath the surface and what it means to you. It is essential to know, however, that every scene in every one of my Zen Films has a Some Thing that is there for a reason which guides the overall vision of the film and projects an ideology to the audience whether they consciously notice it or not. This is why they are each titled a, “Zen Film.”

            So, I want to call out all you, (oh so knowledgeable), film reviewers. I want to tell you, “You missed the point.” Simply by looking to the storyline, the sets, the acting, and the character development for guidance in your reviews you have completely overlooked what is actually going on.

            As a Film Watcher and as a Film Maker I can say that to truly understand any film you have to look beyond the obvious. This is especially the case with Zen Films. So, the next time you want to find something to cast your judgment upon at least have the foresight to see what you are missing by studying the subtitles instead of simply sitting there with your mind already made up and casting judgment.

Copyright © 2016 – All Rights Reserved

 

Everybody Talks About the Films but Nobody Studies the Films @ Scott Shaw.com

Scott Shaw Zen Filmmaking