Minimalist Cinema and Understanding the Art of the Artist

 By Scott Shaw

Originally from The Scott Shaw Blog

 

You know, the fact of the fact is, I could speak or write for days upon days about the reality of making movies. I’ve been doing it for longer than many people have been alive. And, I’ve taught courses on the subject for decades.

…Teaching really becomes the true place of learning as in that environment, the instructor, is constantly presented with new questions from new minds who are seeking to find their own new understandings and truths, which always paves the way for new and different evolutions to be given birth to…

In any case, the thing that I constantly realize, due to the fact that I am frequently confronted with the false reality that is project onto the world by those attempting to decipher what a filmmaker has actually created, is that most film critics are not the ones creating the art. So, a good number of them, never truly comprehend the divine inspiration that comes from the creation of actualizing that artistic something. It seems that all they have the power to do is to speak about the creation(s), created by someone else. And, here lies the clue for those of you out there… If someone is speaking about the creation of someone else, that almost always means that they are not the one creating some truly artistic vision of their own. It is a simple as that. With very few exceptions, the critic is not the artist.

The thing about creation, as can be proclaimed by anyone who has actually created something, is that creation emerges in their mind and then the artist finds a way to make that mental inspiration a reality. Do those who only speak of the creations of others do that? For the most part, no. They just speak about those who have actually created.

In terms of film, partially in the realms of independent filmmaking, creation is never a process where you are, for example, paid to create. It takes a lot more personal and focused effort than that. And mostly, any money comes out of your own pocket.

First, the indie filmmaker, particularly the filmmaker in the no to low budget genres, must initially possess the inspiration and envision their cinematic creation. Then, they must find a way to bring the team together to make it happen. They must also find the finances and the sets and the locations and the equipment and the all of that kind of stuff to bring their cinematic vision into reality. Not easy! I mean, really think about this… Think how much focused creative effort and energy it takes to first develop the idea and then activate the motivation and the skillset and the drive to be an independent filmmaker and bring that cinematic vision into reality. It takes a lot of work!

I always find it vastly amusing how critics go after a filmmaker, especially on the internet, with innuendos that create the illusion of uncertainty about the artist, their motivation, and the reality of their creation. In many cases, they even go after the person or persons who may like the work of a specific filmmaker or their filmmaking creations. But, the artist is the artist, the critic is not. How can the motives of the artist and their artistic truths be questioned? Moreover, why would you wish to hurt the creative process of an artist? What good does that equal? Sure, someone in the Out There may not like what a particular artist has created, but that does not change the fact that the filmmaker, (the artist), actually created that something that the critic did not.

To you film critics out there, and I know there are at least a few of you who read this blog, because you have communicated with me, I’m not saying don’t follow your calling, if you feel film reviewing is what your calling is. What I am suggesting is that instead of simply viewing a film, or some other artistic creation, from the perspective of YOU: what you decide you like or what you decide you dislike, what narrative you wish to add about some creator or someone else’s creation, take the time and possess the discretion to view that work of art through the understanding of what the artist had to go through and do to create it: what obstacles they overcame, what available option they possessed, and what factors came into play in their desire to create.

For example, (and I’m just using myself as an example as I am the one writing this), the budget of most of my narrative films were between zero and three-hundred dollars. That’s it! If you actually study my creative process, and did your research, you (or anyone) would know that. But, did you research that fact? I believe that it is fairly amazing what I have created was done so with that kind of budget. Have you done that? Could you do that?

Now, don’t get me wrong… There are some very good on-line film reviewers out there who have really studied the craft and the filmmaker and their films of those they are discussing. They present a true picture based upon the reality of the artist’s reality. Most are not like that, however. All they do is base what they disseminate upon their own predetermined prejudice.  

Moreover, let me suggest that you on-line critics out there stop hiding behind screennames. If you want to be a Siskel or an Ebert, own who you are! Make your real name mean something. 

Personally, film critics have never really bothered me on a subjective level. I have most often found their reviews amusing, even if they are very harsh. Because, as the creator of that film, I am very aware about just how wrong most of them are about the truth of my motivations and the actually process of my film’s completion. Believe me, I laugh and see the inadequacies in my films, as well. If I hadn’t been the one creating them, maybe I wouldn’t understand their essence either. But, as an artist, that doesn’t mean I would rip on the creations of someone else.

What I do care about is art. Pushing the envelope forward and paving a way in that new and innovative filmmakers may find a way to create their own cinematic, (and other), art.

For me, as the years have progressed, and I have peered into new levels of filmmaking, my process has consistently become more and more simple. It has become more and more Zen. What was first based in story-driven narrative, has shifted solely to visual and audio expressions. But somehow, some people, want to hold me to the past. They only speak about films I made decades ago. I keep saying this, but none of the reviewers out there seem to take note. The last narrative film I made; I created fifteen years ago. And, the years keep building upon that number. That is not to say I have not continued to make films. I make them all the time. I am constantly filming images. What I have been focusing on is, Minimalist Cinema, the Non-Narrative Zen Film. But, what critic takes the deep dive into those? There have been very-very few, as far as I can tell.

So, what am I saying here? Any artist, any individual who lives a life based upon art, constantly evolves. So sure, you can look at and love or hate the art they created way back in the way back when. But, do not hold them to that. Do not lock them to that point of time. For most likely, they will have evolved and developed new and different artistic patterns.

Have you change over the past ten, fifteen, twenty, or thirty years of your life? All you have to do is to look to your answer to that question to understand the truth in the evolution of the artist.

And please understand, I’m just using the film critic as the basis of this piece. They are not the only critics who tend to lose sight of the true meaning of art and the artistic motivation of an artist. You can apply this same understanding to the reviewers of painting, books, music, dance, the martial arts, you name it… Plus, you can attribute this understanding to anyone who talks about the life and/or the life work of anyone.

At the essence of art is the creation of art. Next to enlightenment, art is the purest form and process of living life. Because from the artist, all life is documented via the inspired mind of the individual who is willing to do all that it takes to make the visions they see and experience in their mind a physical reality.

Whenever you view art, always keep that in mind. Sure, you may love it, or you may hate it, but that does not change the fact that it is art. Simply because the artist possessed the wherewithal to bring that creation into reality means that they have truly contributed something to the evolution of humanity. Question, what have you contributed?

 

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This article can also be viewed at:

Minimalist Cinema and Understanding the Art of the Artist on Scott Shaw.com

All Outcomes Are Perfect: Divinity + No-Script Cinema

 All Outcomes Are Perfect: Divinity + No-Script Cinema
 

Above is a link to an interesting and insightful, recently published, article written about creating films without a screenplay. The author, Sean Welsh, discusses Zen Filmmaking as a part of their thesis. Thanks!

 

I wish all the people who discuss Zen Filmmaking, on-line and otherwise, possessed the critical thinking to actually research the craft and present the genre’s foundations, understandings, and philosophies as well as this author has.

Zen Filmmkaing: The Art of No Story

By Scott Shaw

Originally from The Scott Shaw Blog

As I state, way too often, there is a rarely a week that goes by that I do not receive questions about (particularly) The Roller Blade Seven, in addition to Max Hell Frog Warrior, Armageddon Blvd., Samurai Vampire Bikers from Hell, Vampire Blvd., Guns of El Chupacabra (which has just been licensed to RiffTrax), and the list goes on and on; you name the Zen Film, I get questions about it. All good! I’m happy to answer, whenever I can. I have had several really good chats about the truth and the realities of the movies and filmmaking in general with some of those people. I also get a lot of question about why don’t I/will I ever do another Roller Blade Seven or Max Hell. Plus, for and from some very astute studiers of the Zen Filmmaking Legacy, I am often asked, will I ever do another story-driven film at all, as I haven’t made a narrative film in about fifteen years?  …And, why did I move away from that style of filmmaking onto the more freeform Non-Narrative Zen Films, that I currently create?

There are a million reasons, of course, all based in my own mind, as I am the artist and the creator of my products. Mostly, it has to do with an ever-evolving freedom of art.

To discuss… I’ve read and heard, ever since I got into the filmmaking game, that the storylines of some of my films don’t make a lot of sense. Whenever I hear or read such a statement, it invokes many amused emotions in me. First of all, if you are saying that, you are not looking too deeply into the story development of that film. But, more importantly, who cares? For those who make such a statement, have you ever even looked into my philosophy about filmmaking and the stories these Zen Films are based upon? If you have, you would have known that one of the primary tenets of Zen Filmmaking is that the stories have already all been told, (so why bother retelling them in a fake-coherent manner), and/or that a story has to be lived before it can be written down. So, allow it to evolve in a natural process, whether it makes sense or not. Look at any of the interviews or discourses I, or Donald G. Jackson, ever gave about Zen Filmmaking, and this premise is made very-very clear. I/we never cared about the story development. It is only used as means and method to create a cinematic work of art revolving around a projected premise. But, that storyline is not essential, in any manner, to the art of that film. Moreover, stop trying to compare a Zen Film to a traditional film. For it is not. It never was intended to be.

What am I saying here? If you are looking for concise story development, a Zen Film is intentionally the wrong place to seek that out. If, on the other hand, you are looking for a visual movement of time and space that peeks into a particular altered reality, this is what you may find in a Zen Film.

I mean really, what does a critic do? Answer: Looks for something to criticize. But, is that a conscious place to live your life from? You may love or hate a piece of art. That’s human nature. But, do your homework before you criticize it. Attempt to truly understand any form of art from the place where it was created, not simply defined by whether you like or dislike it, while seeking out the flaws you feel it possesses.

That’s the thing about Zen, seeking the perfection within the imperfection. 

Each artist presents their own interpretation of art in their own unique manner. And, this goes across all genres of the spectrum of art. Once upon a time, abstract art was new and unique. When seeing it for the first time, it was something totally new and different. Sometimes, so different that even to this day, many people do not like or appreciate it as art. But, loved or hated, it is the expression of that artist’s vision of art. This is the same with film art. My cinematic presentations are defined by the fact that the story does not matter, so stop looking for one.

Therefore, in answer to the question(s), would I ever do another story-driven narrative film? Sure, if I found the inspiration and the people to surround the project with positive energy. But, till that time, it is currently my focus to make the undefined Non-Narrative Zen Film. A space where, obviously and intentionally, the story does not matter. 

You can’t criticize the storyline when there intentionally is no storyline. 

 

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This article can also be found on Scott Shaw.com

@ Zen Filmmaking: The Art of No Story

and

on  Zen Filmmaking.com

@ Zen Filmmaking: The Art of No Story

Zen Filmmaking and the Two-Day Movie By Scott Shaw

Here is a chapter from my book, Independent Filmmaking: Secrets of the Craft that I thought some of you filmmakers out there may find interesting.

By Scott Shaw

When I tell people that they should film their independent movies in two days, they most often respond, “That’s impossible!” But, I can tell you from personal experience, that, “Yes, it is.” In fact, I have made an art out of shooting entire feature films in just two days.

 

This process began when I made Samurai Vampire Bikers from Hell. Making a film this quickly was in direct response to the months-upon-months Don Jackson and I took to make The Roller Blade Seven.

 

While making RB7 I came to the realization that though all of the time we had spent during production had, for the most part, been a fun experience, it truly did not make the movie any better.

 

Now, RB7 was filmed in numerous locations—many of which were a long distance from our offices on Hollywood Boulevard. The truth being told, if you are going to shoot at that many locations, with that much of a distance to travel, then, “No,” you probably cannot make your movie in two days. But, if you keep your locations central to your homebase, then this style of filmmaking is very doable.

 

Why

The question is often posed to me, “Why make a film in only two days?” The logic is simple.  First of all it’s cheaper. If you are paying or feeding anyone on your set, then keeping the shooting schedule limited to only two days cuts way down on your production costs. Secondarily, and perhaps most importantly, people have lives, people have jobs, people have families, people have egos that can be damaged, people have the belief that your production is not that great and they will soon be offered a bigger position in a larger production. In short, your crew and particularly your cast are going to move on. But, if you shoot your film in a minimal period of time, their interest will remain high and they will stay onboard until the completion of your production.

 

In addition, the two-day film really works great for the working masses, because you can make an entire film over the weekend. As most people work Monday thru Friday, their weekends are open. With this, they do not feel that they are being cheated out of their daily wage for taking part in your production.

 

Also, if you need to rent equipment, film rental houses have a policy that renting equipment for the weekend is billed as a single day rental.  So, if you need to rent equipment, you can save some money.

 

Scheduling

The successful two-day film is all about scheduling. Whereas many novice indie filmmakers go into their project with their script in hand and the idea of what they hope to film on a particular day, their schedule quickly becomes lost due to the fact that they are messing around with the lights, talking and joking with the cast, rehearsing their actors, and generally not getting anything done. If you are going to make a two-day movie, you need to know how to get things done!

 

On every film, there are things that are going to come up that you cannot anticipate and these situations will lead to your planned schedule being altered to some degree. So, what you want to do is to alleviate as many of those potential problems as possible. For example, you will want to KNOW your locations.

 

With the two-day movie you cannot just show up to a place you have never been to before and expect everything to go fine. Maybe everything will go fine, but that cannot be guaranteed.

 

So, when planning for the two-day movie, prior to shooting, you will want to visit, dress the sets, and setup your lights, if possible, at each location to fit the needs of your film. Then, on the day of shooting, when you travel to the location, it will be ready to go.

 

Scheduling the Actor

One of the primary things that you will want to do, particularly in regard to actor scheduling, is to only bring them onto the set when it is near the time for them to shoot their scenes. So many filmmakers bring actors onto the set and then have them sit around for hours, if not all day. Sometimes these actors are not even used if a filmmaker encounters any problems. This is just the wrong way to make the independent film.

 

What this style of filmmaking does is to alienate your actors from you and the production and cause them to be discontent.  By the time you are ready to shoot their scenes—if, in fact, you ever get around to them, their emotions are displaced and they are not happy—which may be projected into your film. So, the main thing you have to do is to decide the order of the scenes you are shooting on a specific day, in a specific location, and then bring the actors onto the set near the time you plan to begin shooting the scenes that involve their character.

 

There will certainly be lead or co-star actors and actresses that will need to travel with you to the various locations you are shooting at on a given day. What I find works best is to meet them at the first location, if this location is some distance from your primary set.  Shoot their scenes at this location and then move onto the next set or location.  You can either have them leave their car at this location or have them follow you.

 

The other thing to do is to meet at your primary set and then drive in one car with them.  With this style of transportation, not only can you discuss any questions they have about their character or the scenes you are going to shoot, but you can also learn about their personality.  From this, you, as a director, will better know how to guide them through their performances.

 

The main thing you do not want to do is to lose you actors in the process of the two-day movie.  Because, with no cast, there is no character development, and your movie can never be completed—at least not as scheduled. So, you want to keep your lead actors close.

 

The Look

The two-day film does not have to look low-budget. With a schedule of ten to twelve hours a day, you can shoot a lot of character development at a lot of locations and give your film the look of a production that took much longer to create and cost much more. Achieving this is easy. Chart out your locations, film your scenes at them and then move on to the next location. Don’t mess around. You can do that later. Get out there and get your movie filmed.

 

Those Who Get It

Let’s face facts, some people, “Get it,” and some do not. Some understand that an indie film is a low-budget collaborative process that is designed to be a stepping-stone pathway to make inroads in the film industry and some do not.  What you want to do when making the two-day film and, in fact, when making any indie film, is surround yourself with a cast and crew that “Get it.”  From this, you will alleviate many of the problems that may occur, particularly with your cast.

 

The Reality

The reality of the two-day movie is that you can create a very nice product while interfering with the lives of your cast and crew in the most minimal manner possible. With this, they come away with a new credit on their resume while having had a positive experience.

 

If, while editing you find that you need another scene or two to fix any holes in the story, as the production was so trouble free your cast and crew will be happy to come back and give you another hour or two.

 

The problem with long independent productions is obvious.  The cast and the crew become too involved in the lives of each other, and from this, the flaws in the production and individual personalities are revealed. This abrasive reality drives many people away. From this, the film can never be completed in the manner in which it was hoped. The solution; the two-day movie.  You get in there, you get it done, and everyone moves on with his or her life.

 

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You can also read this article on, Zen Filmmaking.com

@ The Two-Day Movie

The Maverick of Mindfulness: Scott Shaw and the Art of Zen Filmmaking

 

Few figures in contemporary cinema embrace the unorthodox as vehemently as Scott Shaw. An author, martial artist, and filmmaker, Shaw has carved his own path, rejecting convention in favor of a practice he terms "Zen Filmmaking." This essay delves into Shaw's life, philosophy, and cinematic techniques, exploring his unique contribution to the world of film and its impact on both audiences and the industry itself.

 

From Martial Arts to Mindfulness:

Shaw's journey began far from the silver screen. An accomplished martial artist, he found himself drawn to Eastern philosophy, particularly the tenets of Zen Buddhism. The emphasis on mindfulness, improvisation, and living in the present resonated deeply, influencing both his martial arts practice and his burgeoning interest in filmmaking.

 

Breaking the Script: The Core of Zen Filmmaking:

Shaw's films defy traditional filmmaking norms. Gone are the rigid scripts and pre-defined narratives. Instead, Zen Filmmaking embraces spontaneity, improvisation, and an intuitive approach. Actors receive minimal direction, encouraged to respond organically to their environment and each other. The camera lingers on seemingly mundane details, inviting viewers to slow down and appreciate the present moment.

 

Shaw's Signature Style:

Several techniques mark Shaw's films as distinctively Zen:

• Minimalism: Simple sets, natural lighting, and subdued color palettes create a stripped-down aesthetic, eliminating distractions and emphasizing the essence of the scene.
• Improvisation: Actors improvise dialogue and actions, mirroring the Zen emphasis on letting go of preconceived notions and embracing the unknown.
• Long Takes: Uninterrupted shots immerse viewers in the present moment, fostering a sense of timelessness and contemplation.
• Silence: Dialogue is sparse, emphasizing the power of nonverbal communication and leaving space for introspection.

 

Impact and Influence:

Zen Filmmaking isn't for everyone. Its slow pace and lack of clear narratives can be challenging for audiences accustomed to Hollywood fare. Yet, for those willing to surrender to its rhythm, the rewards are profound. Shaw's films offer a meditative experience, inviting viewers to be present in the moment, appreciate the beauty of the ordinary, and contemplate the deeper questions of life.

 

Beyond Entertainment: A Path to Awakening:

Shaw's work transcends mere entertainment. He views filmmaking as a form of personal and spiritual exploration, an opportunity to cultivate mindfulness and connect with one's authentic self. This is reflected in his workshops and teachings, where he guides aspiring filmmakers to access their inner creativity and embrace the Zen principles that define his unique style.

 

Criticisms and Controversies:

Zen Filmmaking isn't without its detractors. Some find its approach self-indulgent and criticize its lack of clear narratives. Shaw's unconventional methods and independent spirit have also clashed with the commercial constraints of the film industry.

 

A Legacy of Innovation:

Despite the challenges, Scott Shaw remains a force of innovation in the cinematic landscape. His dedication to Zen principles and his unwavering commitment to artistic freedom have challenged preconceived notions of filmmaking and offered a unique perspective on storytelling. He continues to inspire aspiring filmmakers and push the boundaries of cinematic expression, leaving a lasting legacy as a true maverick of the art form.

 

Conclusion:

Scott Shaw's Zen Filmmaking stands as a testament to the power of embracing the unorthodox. By blending Eastern philosophy with cinematic techniques, he has created a space for contemplation, introspection, and a unique experience of the present moment. While not for everyone, his films offer a valuable alternative to mainstream cinema, reminding us of the potential art holds to elevate and awaken. As Shaw himself declares, "Zen Filmmaking is not about making movies, it's about making life." With this philosophy, he continues to guide both filmmakers and audiences on a journey beyond the screen, towards a deeper understanding of self and a profound appreciation for the fleeting beauty of the present moment.

 

 This article can also be found on Zen Filmmaking.com

The Maverick of Mindfulness: Scott Shaw and the Art of Zen Filmmaking

Scott Shaw and Zen Filmmaking: A World of Unconventional Creativity

Scott Shaw is a multifaceted figure in the world of independent filmmaking, particularly known for his unique approach called "Zen Filmmaking." Here's a breakdown of his style and its impact:

The Zen Filmmaking Philosophy:

• No Script, No Rules: At its core, Zen Filmmaking rejects traditional filmmaking practices like pre-written scripts and rigid structures. It emphasizes spontaneity, improvisation, and trusting the creative instincts of the director and actors.
• Collaborative Flow: Emphasis lies on collaboration and improvisation between actors and director. Dialogue is often created on the spot, allowing for organic reactions and genuine emotions.
• Focus on Experience: The goal isn't necessarily a polished, plot-driven narrative, but rather capturing an authentic experience and conveying genuine emotions through the filmmaking process.

Scott Shaw's Journey:

• Martial Arts and Eastern Philosophy: Shaw holds a black belt in several martial arts disciplines and draws inspiration from Eastern philosophies, incorporating their spontaneity and flow into his filmmaking.
• Diverse Films: He has directed various films showcasing his eclectic taste, ranging from sci-fi action like "The Roller Blade Seven" to martial arts dramas like " Samurai Vampire Bikers from Hell."
• Zen Filmmaking in Practice: Many of Shaw's films, particularly independent low-budget features, utilize the Zen Filmmaking approach.

Reception and Impact:

• Cult Following: While not universally acclaimed, Shaw's films have garnered a loyal cult following who appreciate their unconventional style, raw energy, and unique humor.
• Challenges: The lack of structure and reliance on improvisation can create uneven results, sometimes criticized for pacing and plot coherence.
• Independent Spirit: However, Zen Filmmaking embodies the spirit of independent filmmaking, offering a creative alternative to mainstream studio productions.

Further Exploration:

• Learn more about Scott Shaw's films and Zen Filmmaking on his website: scottshaw.com
• Watch documentaries like "Scott Shaw: Zen Master of B-Movies" to gain deeper insights into his filmmaking process.
• Explore other filmmakers like Donald G. Jackson, who have collaborated with Shaw and adopted similar approaches.

 

If you're looking for unconventional cinema that prioritizes creative freedom and spontaneity over traditional narratives, Scott Shaw and Zen Filmmaking offer a unique and fascinating journey worth exploring.

 

This article can also be found on Zen Filmmaking.com

Scott Shaw and Zen Filmmaking: A World of Unconventional Creativity

Zen Filmmaking: Truth Verses Lies By Scott Shaw

By Scott Shaw

 

I am so often perplexed by people that go after other people, via whatever method is at their disposal, as a means of attack. Sure, we all like what we like and don’t like what we don’t like, that’s life. But, what I find profoundly troubling is when people state completely wrong ideas, that are complete erroneous about that someone/anyone else. I mean, if you don’t possess a fact-based knowledge about a person or a subject then all you are spilling is conjecture. And, if what you are saying is wrong or flat-out untrue, shouldn’t that make the speaking individual feel bad and shouldn’t they do all that they can to right their wrong? Yet, who does?

As someone who has been in the public eye, (in my small little way), via my writings, my films, my music, and the like for many-many years, I have encountered a lot of falsehoods being stated about my works and myself. So, I guess that has provided me with a bit of insight into the all of this. Personally, I really don’t care what someone is saying, especially if what they are saying is false. This being stated, I have witnessed the impact of how some of these false words have negatively affected my life’s landscape.

I threw Zen Filmmaking into the title of the piece as I was just having an interesting discussion with this one guy, who’s a fan of my films. Thanks! He mentioned that he had read that someone on some site was going on about my movies, stating that all I do is turn on the camera and let people speak. And, that’s why they are all so bad and he hates them. That’s not true. That’s not true at all.

Zen Filmmaking is not about improv. Zen Filmmaking is not about letting people say whatever it is they want to say. Zen Filmmaking is about embracing the perfection of the moment and allowing the magic to happen. In terms of dialogue, I set up the scene and then allow the actors to put the situation into their own words. Thus, allowing them to be natural in their words and their responses. It’s as simple as that.

Every scene, in all of my Zen Films, I know what we’re going to shoot. I simply allow the actors to decipher the dialogue and their actions by their own unique methods of interpretation. I allow for the freedom of the spontaneousness and the natural to guide us through the scene and in new directions if that becomes the inspiration.

The reason I spell this out, (and for those of you who know anything about Zen Filmmaking, you already know about all this chatter), is that here is somebody making a statement, proclaiming it to be true, but what they are saying is just blatantly wrong. He (or she) hasn’t studied the craft of Zen Filmmaking, yet they proclaim all this supposed knowledge about the art form, but they are wrong. What does that say about them?

I haven’t even made a Narrative Zen Film in well over ten years. I’ve been focused on creating the Non-Narrative Zen Film. So, everything that person is speaking about is ancient history.

Over the years, I’ve read some of the reviews of my films, or even watched a few of the video presentations people have done about my movies, but what is so often the case is what they are saying is wrong. What they claim is not true about the inspiration, about the story, about the method, about the technique, about me, and about the everything else—particularly when they are basing their appraisal upon a negative point of view. Yet, they present it as fact, nonetheless.

Do they ever communicate with me to check their facts? Do they ever go back and correct their mistakes? Do they ever say, “Sorry, I was wrong?” Nope. They just leave all of their falsehoods out there for the world to see. What does that say about them as a human being?

You don’t like my Zen Films, that’s fine. Here’s an idea, don’t like ‘em, don’t watch ‘em. But, don’t proclaim factual falsehoods and pretend you know anything about the craft, or about me, when what you are saying is blatantly false.

We each encounter this style of life-dialogue all the time. Look around you: view, listen, read; people talk all the time about all of the things they claim that they know, but how often is what they are saying simply based in their own personal, unrefined, prejudices and not based in truth or fact?

What can we do about all of this? Nothing. It’s just the name of the game. What we can do, however, is not be that person who states false facts. We can choose to only speak the truth. I mean, why talk about anybody else anyway? Don’t you have enough going on in your own life to keep you busy?

Moreover, if you see, hear, or read the falsehoods, call these people out. Because if no one stops their speaking of un-truths, just think about how many lives they will hurt.

Like I state in my number one motto, “Be Positive.” Say good things. Do good things. Help everyone you can and never hurt anyone. Just think how much better the world would become if we all practiced that philosophy.

 

Copyright © 2023—All Rights Reserved

 

Originally from the Scott Shaw Blog @ Scott Shaw.com 

Scott Shaw Zen Filmmaking