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

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

Max Hell Frog Warrior: The Facts and the Fiction

Check out the interview at: Max Hell Frog Warrior: The Facts and the Fiction.

@ Scott Shaw.com

Scott Shaw Zen Filmmaking

The 100 Best “B Movies” of All Time

Here is the review written by Jim Vorel about The Roller Blade Seven in his, "The 100 Best "B Movies" of All Time," published by Paste Magazine. Click on the title for the full list

27. The Roller Blade Seven
Year: 1991
Director: Donald G. Jackson

Remember when I called Hell Comes to Frogtown one of the more coherent films by Donald G. Jackson? This is why. When Jackson met martial artist/producer Scott Shaw, they elevated their work to Henry Darger-tier outsider art. Employing a style coined as “Zen Filmmaking,” they set out to make a post-apocalyptic, rollerblade-centric action movie with absolutely no script involved. As Shaw says, Zen Filmmaking “allows for a spiritually pure source of immediate inspiration to be the only guide in the filmmaking process.” Here, it guided them to a movie about a nomadic warrior who teams up with a kabuki mime and a banjo player to defeat Joe Estevez and Frank Stallone in a Road Warrior-like wasteland. The Roller Blade Seven pretty easily manages to be the most psychedelic, mind-bending film on this entire list—my attempts to describe here only hint at its profound weirdness. It’s a movie that is indescribable until you experience it.

 

Scott Shaw Zen Filmmaking

Zen Filmmaking and Scott Shaw: Speaking with the Zen Film Master

The Entire Three Part Article originally published in Film Fantasy Magazine

Scott Shaw

Speaking with the Zen Film Master

Part One

By Cori Tate, M.F.A.

            Scott Shaw has spent the past twenty years making some of the wildest no-budget independent films that the world has never seen. With titles such as Samurai Vampire Bikers from Hell, Max Hell Frog Warrior, Super Hero Central, Vampire Blvd., and Count Vlogula, to name just a few, Scott Shaw has etched a niche for himself as one of the most eccentric filmmakers in the industry.

Hailing from Hollywood, California, Shaw is much more than just an independent filmmaker. He is also a respected martial artist who has written an enormous amount of articles and books on the subject as well as being an accomplished musician and photographer.  When he is not making movies he teaches courses on filmmaking at colleges and universities.

            Whereas many independent filmmakers try to climb the Hollywood ladder, Shaw has turned his back on the traditional film industry and focused his career upon his self-developed philosophy of Zen Filmmaking. What is Zen Filmmaking? I will let Scott Shaw explain that in his own words.

Cori Tate Before we begin I want to tell you that I have been a fan of your work for some time and I believe I have seen all of your films.

Scott Shaw Thank you. Which one is your favorite?

Cori Tate Undercover X.

Scott Shaw That’s one of my favorites too.

Cori Tate I also really like the editing in Killer: Dead or Alive.

Scott Shaw Yeah, that’s a fun one as well. Which of my films do you like the least?

Cori Tate I don’t want to answer that. Aren’t I the one who is supposed to be asking the questions?

Scott Shaw Sorry. Ask away.

Cori Tate I know in the past you said that while growing up you saw the downside of the film industry and that is what kept you from becoming involved in it until much later in your life. Being from an industry family myself, I too have seen that side of it. Have you been able to stay away from the turmoil?

Scott Shaw For the most part, yes. I really don't run in those circles and I do not go around asking people for money to finance my films like a lot of indie filmmakers do. So I am able to stay pretty clear of all of the nonsense and the melodrama.

Cori Tate As a filmmaker how would you define the kind of films you make?

Scott Shaw Zen Films.

Cori Tate Yes, I know that but your films have a very unique characteristic. Can you explain that?

Scott Shaw That’s just it. They’re Zen Films. There is no definition for a Zen Film.  What they are is what they are. Each one is whole and complete onto itself. Each one is different. There is no formula. There is no dogma. There are no requirements. You just go out there and do it and that is what you do.

Cori Tate Do most people understand your Zen Filmmaking style?

Scott Shaw You know, ever since Don Jackson and I made the first Zen Film, The Roller Blade Seven, we knew that people who had an eye for the cinematically abstract and who really studied the intricacies of what we were doing would understand and like it and the people who expected to see a traditional mainstream film, would not. To answer your question it is 50/50.

Cori Tate Now that you brought up Donald G. Jackson how did you two function as a filmmaking team?

Scott Shaw As artists, Don and I had a very similar mind. He, like I, appreciated the bizarre and the abstract. As people, we had very different personalities. He was very explosive. He liked to yell and scream at people and mess with their heads. Me, I am the total opposite. I’m all about making people comfortable and making the world a more calm and peaceful place.

Cori Tate Then how did you work together?

Scott Shaw When we worked together we were of one mind. We never questioned the other’s insights. Whichever one of us had the inspiration, the other one just flowed along.

Cori Tate In the past you have stated that Donald G. Jackson used a script for all of the films he created when you were not involved in the project. Is that true? Isn’t that against the primary premise of Zen Filmmaking?

Scott Shaw Yes, for the most part that is true. But Don was a very spontaneous guy, if someone wanted to go in a different direction he never forced them to speak only the lines written in the script. But you just expressed a really big point that many people misunderstand.  Everybody seems to think that Zen Filmmaking is simply based on the premise of not using a script. That’s totally wrong. The use of no screenplay in the filmmaking process is simply a tool to open up the filmmaker’s mind to allow spontaneity to be the primary guiding force in a film’s creation.  By allowing artistic freedom to guide you in the filmmaking process you allow magic, and by magic I mean you allow and accept magical things to happen that you would or could never expect.

Cori Tate So far you’ve written two books on filmmaking, Zen Filmmaking and Independent Filmmaking: Secrets of the Craft. What are the differences between the two books and what information do they provide?

Scott Shaw You know, I’ve been making films for a long time now and not only have I been teaching classes and seminars on the subject for years upon years but I receive a lot of questions about filmmaking all the time. What I realized a long time ago is that everybody has the same questions and everybody, including myself, runs into the same problems. The two books spell all of the problems that I have run into and the problems that other indie filmmakers have run into and then the books provide answers and ways to avoid these problems as much as possible. The difference between the two books is that Zen Filmmaking is more of an illustration of my personal filmmaking journey in association with a lot of how-to. Independent Filmmaking is more of an overall nuts and bolts discussion and a how-to for the independent film industry.

Cori Tate Having seen most of your films I realize that you are constantly changing as a filmmaker from how you tell a story onto editing and all the various visuals. How and why has your filmmaking evolved?

Scott Shaw The main component is that technology is constantly making things easier. I couldn’t do, or maybe better put, I couldn’t afford to do a lot of things, particularly in editing, that I wanted to do in years gone past. Now it’s all on your PC. You can do pretty much anything. From the advancements in technology I have been allowed to continually expand and push the barriers within my visions for artistic filmmaking.

Cori Tate You say there are no mistakes in filmmaking. What does that mean?

Scott Shaw Most people who want to make a film have the hope and the desire that their film, made with no money, will come out looking like a hundred million dollar feature. Moreover, the people who view independent, low and no budget features expect them to look like they had a hundred million dollar budget.  That is just not the reality of making an indie film, especially when you have limited financial resources. What I mean by there are no mistakes is that you have to enter the process with the understanding that your film is going to turn out the way your film is going to turn out. That is not to say that you don’t try to make it look good. But you have to accept your limitations. And the viewers should also be of that same mindset if they are planning to watch a film of this genre. By entering the filmmaking process with this mindset, the freedom of Zen is experienced.

Scott Shaw

Speaking with the Zen Film Master

Part Two: Zen Filmmaking: The Process

By Cori Tate, M.F.A.

            As detailed in part one of this article, Scott Shaw has spent the past twenty years making some of the wildest independent films that the world has never seen. With titles such as Samurai Vampire Bikers from Hell, Max Hell Frog Warrior, Super Hero Central, Vampire Blvd., and Count Vlogula, to name just a few, Scott Shaw has etched a name for himself as one of the most eccentric filmmakers in the industry. He has created these films while employing a method of filmmaking that he calls Zen Filmmaking. In this segment of the article we will delve into the actual process of Zen Filmmaking and allow Scott Shaw to explain how to make a Zen Film.

Cori Tate For this part of the interview I would like to speak to you about some of the practical aspects of Zen Filmmaking and how you make your Zen Films.

Scott Shaw Let’s do it.

Cori Tate Why no script?

Scott Shaw Like I have discussed for many years, when someone writes a screenplay they believe they have a great idea. And, maybe they do. When they move forward to creating their film they believe it will be filmed with precise camera techniques, in perfect locations, with excellent actors portraying the characters.  The fact of the matter is, unless you have a lot of money, which most new filmmakers do not possess, that is just not going to happen. Things are not going to turn out perfectly. This is one of the main reasons that many new filmmakers throw in towel and do not complete their films -- because they cannot equal what’s in their mind’s eyes. But, if you take away the obstacle of a script and remove what is suppose to happen, you become free, you are not forcing yourself to equal what you have conceived in your mind. If a filmmaker operates at this level there is a much greater chance that the film will be completed.

Cori Tate Without a script, how do you get your stories told?

Scott Shaw For each person it is a little different. What I do is to start out with a story idea. Then I get my cast together and have a few places in mind that I plan to shoot. For each day I construct a shot list that will explain the characters and the story, and then I go out there and do it.

Cori Tate So you guide your actors on the set?

Scott Shaw Exactly. But they are not gong out there blind. Before we ever begin to film I discus each character with each actor so they know what they are going to portray and how they are going to achieve that portrayal. If we have the time I allow actors to meet the other actors in the film. Then when we get on the set, I tell them the basics of the information that they need to discuss for a particular scene, and I let them have at it. This keeps the performances very natural.

Cori Tate You generally work with unknown actors. Why is that?

Scott Shaw Hollywood is an impossible game to win. Yet tons of people come here all the time hoping to be stars. The reason I invite new people to be in my films is I want to offer them the opportunity to actually get in front of the camera and get their feet wet. What I am providing them with is a stepping-stone. They are going to be in a film that will be completed. If they never do anything else in the film industry at least they can say I was in that film. But some of them have actually gone on to become very successful actors and actresses.

Cori Tate What is the average budget for your films?

Scott Shaw I try to stay right around $300.00.

Cori Tate $300.00! I have seen your films. You mean to tell me films like Hitman City and Vampire Noir only cost $300.00 to make?

Scott Shaw Yup.

Cori Tate How do you do that?

Scott Shaw Well, first of all you have to know what you’re doing. Then you have to have the right equipment and know how to use it. Like I tell my students, if you can’t make a movie using only natural light then you have no business being in the film industry.

Cori Tate How does someone learn how to use equipment and make quality films like you have with such a low amount of money?

Scott Shaw It is all about practice and getting out there and doing it.

Cori Tate So you suggest people practice making films?

Scott Shaw Absolutely. You don’t have to go out there and make a feature film your first time out like I did. Just get out there with a camera everyday and make film shorts or just practice with it seeing how it captures images and how it reacts to light. From this, when you actually get ready to make a film you will have the techniques in place to do it right.

Cori Tate What kind of equipment do you use?

Scott Shaw That really depends on what I’m doing. Over the years I have used pretty much every camera and every format ever created. I own a lot of equipment. Which is one of the ways I can keep my production costs down. But I always like to tell people; you can even shoot movies with your phone. I mean phones shoot 1080 HD, which has a much better image quality than Super 8 and even some 16mm cameras. If the phones had a mic input, because they have pretty lousy audio, you could shoot a whole movie on your phone. I imagine someday some phone company will add a mic jack and then there will never be a need for full-on cameras anymore.

Cori Tate Have you ever used your phone to shoot a scene that made it into one of your films?

Scott Shaw Of course. Like most people I always have my phone with me and I have used it several times to capture footage. But personally what I do is I always carry a small Nikon or Canon with me. Then not only can I take a photograph if I see something but I can also shoot high quality footage for my films if an interesting situation presents itself.

Cori Tate You are against getting film permits. Is that true?

Scott Shaw It’s not that I am against film permits. It is simply that most indie film people do not have the money to rent a location and pay for film permits. The other problem is, once you lock into a single location then your options are severely limited. You have to stay there and that really holds back spontaneous creativity. The fact is some people believe that it is illegal to shoot a movie without a permit. That is not true. If it is a public place you have just as much right to be there, doing whatever you want to do, as anyone else. You can’t go in there with a Panavision camera, 10-K’s and a big crew, but if you stay low key you are usually fine.

Cori Tate Have you ever been asked to leave a location you were filming at?

Scott Shaw A couple of times, but it’s rare.

Cori Tate What do you do then?

Scott Shaw Just go and shoot somewhere else.

Cori Tate In you films you’ve shot in places like Tokyo, Taipei and Hong Kong. Why do you film there?

Scott Shaw Interesting locations are one of the number one things you need to add to your film if you want to make it look big and give it depth. Whether you film in your community or whatever, the more interesting your locations the better your film with look. As I spend a lot of time in Asia, I add those locations into my films whenever I can. Tokyo is great. It is a very visually spectacular place and nobody cares if you film there. You can film anywhere and nobody even takes notice. Everybody from the Beasty Boys to Katy Perry have filmed in Tokyo just by showing up and doing it.

Cori Tate How do you respond to film critics? Which is something that each filmmaker must be prepared for.

Scott Shaw I don’t. I don’t care what any negative person thinks. First, let them make a movie and then we’ll talk about it.

The fact is, the minute you get into any of the arts you are going to have your critics. That’s just the way it is. The sad thing is, their voices always seem to be the loudest. It would be great if the people who had positive things to say would be more vocal but it doesn’t seem like that is going to happen. Positive people always seem to be the quiet ones.

Cori Tate Why do you think some people are so critical?

Scott Shaw I don’t know. There’s a lot of reasons, I guess. Some people want to make a name for themselves and critiquing and criticizing the work of someone else is an easy way to do it. Some people may not like a person or what they stand for and that is their reason. The one thing I do know is that negativity only equals negativity and that is never a good thing.

Cori Tate Do you ever think you will return to acting on the A level or directing a big film?

Scott Shaw Well Cameron, Spielberg, Tarantino or Rodriguez aren’t knocking down my door. And Weinstein or Lion’s Gate isn’t ringing the phone of my agent off the hook. So I don’t know? But that is really not important to me. I think I have made a niche for myself in the film industry, doing what I do. I make films for the love of the craft. And the reason I teach filmmaking and talk to people like you is that I want to help other filmmakers get out there and live their dreams of making a film. That’s the whole basis of Zen Filmmaking and that’s why I have continued to keep my focus on it. In simple terms, Zen Filmmaking removes a lot of the obstacles from the filmmaking process so that films will get completed and filmmakers will get their films made. Remember the main mantra of Zen Filmmaking, Fun is what it’s all about.

Scott Shaw

Speaking with the Zen Film Master

Part Three: Scott Shaw the Filmmaker

By Cori Tate, M.F.A.

         As was revealed in Part One and Part Two of this interview, Scott Shaw is a truly unique individual and revolutionary filmmaker, creating films via the style of filmmaking he created, Zen Filmmaking. Hailing from Hollywood, California, Scott Shaw has spent over twenty years making some of the most cutting-edge no-budget independent feature films, documentaries, and music videos that the world has never seen. After detailing the foundations for (and the techniques of) Zen Filmmaking in the previous two segments, in this final section we are going to peer into the mind of Scott Shaw and see just what makes this filmmaker tick.

Cori Tate In this part of the interview I want to peer into Scott Shaw the filmmaker and ask you why you do what you do.

Scott Shaw That’s scary. But let’s go.

Cori Tate One of the main things I have noticed about your films is that there is always movement. The character you play or your other actors portray are either riding on a motorcycle, driving in a car, riding on a ferry in Hong Kong, on a subway in Tokyo or on a ship in Canada. If you or your actors are not on some vessel then the characters are frequently seen walking or running. In fact, one of your recent films I saw, The Drive, revolves around a constant state of movement. Why is that?

Scott Shaw First of all, thank you for realizing this, most people don’t.

Cori Tate You’re welcome.

Scott Shaw At its root, the simple answer is, all of life is about movement. That movement may be small or it may be large but it is constant. Everything in this universe is in a continual state of flux. I want my films to represent that understanding on a subtle, subliminal level.  That is why I always have movement in my films. From a less philosophic aspect, movement adds a great level of visual stimuli for the audience. It draws them it. For example, on a subtle level the audience begins to study what is going on outside the windows of a car as the character drives it down the street. Life and the world we live in is very unique. It is a work of art. I like to bring that art into my films as much as possible.

Cori Tate I understand that you shoot your films wherever your inspiration guides you. Yet where you shoot your films and the sets you use have a very common theme, namely the old or the dilapidated. Why is that?

Scott Shaw I’m a city kid. I grew up on the wrong side of the tracks in L.A. In terms of the cityscapes I use, I have forever been drawn to the rundown parts of the city. There is simply something very artistic and beautiful about structures that are in decay and an area that is in its latter stages of existence. In terms of my internal sets, my inspiration is the same. But, they are more of a creation than where I film outside. A good example is, I was watching an old episode of the T.V. series Adam-12 the other day. Malloy and Reed were supposed to be at three different apartments in a rundown building. But all the production team did was to shift the camera to the other side of the hall. In each scene you could see the same spots on the walls and the team entering the same apartment but they were supposed to be three different apartments on three different floors. I love the cinematic ridiculousness of stuff like that. So I embrace it. I recreate it.

Cori Tate You have said that there are hidden elements in all of your films. Is that an example?

Scott Shaw Yes. But it is more than simply the sets and how they are used. Like you realized about the movement in my films, the items I place for the camera to see: the things on the walls, the floors, and in the distance are all very revealing. There are hidden objects in all of my films and abstract expressions in the dialogue. It is the viewer that must find them and decide what they mean.

Cori Tate Why do you do that?

Scott Shaw That is one of the things that makes watching a Zen Film so interesting. Once you understand this, figuring out the underlying meaning of the locations, the dialogue and the scenes become part of the whole process of watching the film.

Cori Tate In terms of your editing style you have always used exaggerated edits. Why?

Scott Shaw Some filmmakers believe that they can draw the audience into the film. They think that they can cause the audience to lose themselves in a film. That’s just not what I’m about. First of all, I don’t believe that you can do that. A movie may emotionally affect you but you never forget that you are watching a movie. It’s not real. So I don’t even try to do that. In fact, I do just the opposite. I want the audience of my films to have a unique experience. Something jarring. Something different. I want them to say, “Wow, that’s a cool edit. How’d he do that?” Or, “I didn’t expect that. That really changed the mood of everything.” This is also why I either have myself or one of my actors glance directly into the camera during each film. As I am sure you know, this is something that is forbidden in all realms of traditional filmmaking. I do this very subtly. You really need to look for it. This is just a subtle reminder to the audience that they are watching a film and the film is not real. It’s also based in the fact; we’re watching you watching us. Look out!

Cori Tate The next question is rhythm. You always have very rhythmic soundtracks. Why is that?

Scott Shaw Again, there is the deeper level and there is the more mundane answer to that question. Rhythm is so primal. It is so at the root of humanity. It touches something deeply inside of everyone. I want the audience to feel the movement in my films. So I use rhythm based soundtracks. The other side of the issue is, I like that style of music.

Cori Tate In the past people always seemed to try to draw parallels between Zen Filmmaking and other forms of nontraditional filmmaking. That seems to have stopped. Why do you think that is?

Scott Shaw I think it is due to the amount of product that has been released using this unique brand of filmmaking. New Zen Films are made all the time, not only by me but also by other filmmakers who are employing various aspects of the philosophy. From this, it has carved out its own entity.

Cori Tate When I was in film school some of the instructors discussed Zen Filmmaking. It interested a few people like myself but others said it could never work.

Scott Shaw Obviously those people were wrong. There have been a lot of Zen Films created. That’s the thing about school, I know because I have spent many years in colleges and universities, first as a student and then as an instructor. The thing is, students say a lot of things all based on the fact that they believe they are soon to be the master of the universe. They believe that all of their dreams are going to come true. They think that they know everything and whatever they believe is right. This is especially the case in a subject like filmmaking where a few people have become the king of the world. But it is rare. Most people do not become that successful. That’s one of the main reason I created Zen Filmmaking and have continued to focus on it. Not only does it remove many of the obstacles from the filmmaking process but it also allows films to be created that are perfect within their own perfection. They can be whatever they turn out to be. No judgment. That’s Zen.

Cori Tate Will you always be a Zen Filmmaker?

Scott Shaw I believe that every filmmaker must base the creation of their films upon a philosophy. Mine is obviously the philosophy of Zen Filmmaking. If you don’t have a philosophy then your film simply becomes an attempt to mimic what others have done in order to gain fame or financial success. So to answer your question, yes, I will always be a Zen Filmmaker.

Cori Tate Recently you’ve been discussing how Zen Filmmaking has evolved to the non-narrative film. What does that mean?

Scott Shaw As I said to you previously, there is no dogma within Zen Filmmaking. It is as free and as creative as the filmmaker chooses it to be. For me, I realized that it was time to move away from story structure altogether. As you know, one of the main concepts of Zen Filmmaking is that the stories have all been told. So why try to retell a story that has been told a thousand times before? Thus came the non-narrative Zen Film.

Cori Tate What does that mean and how do you create a non-narrative film?

Scott Shaw You mentioned you saw the Zen Film, The Drive. That is a non-narrative film. To create a non-narrative Zen Film the inspiration comes from everywhere, anywhere. I don’t know? Where does inspiration come from? But how you create a non-narrative Zen Film is that you capture a series of shots and then weave them together to make a cinematic collage of images that draw the viewer into the space of the abstract, into the space of Zen.

Cori Tate Will you ever go back to making a dialogue driven film?

Scott Shaw First of all, my films have never been dialogue driven. Yes, there is dialogue but they are driven by the essence of pure cinema, artistic cinematic images brought together to shape a collective whole. But sure, if and when the inspiration strikes, I will make another film that employes dialogue.

Cori Tate You mention Pure Cinema. Was that an inspiration to you?

Scott Shaw Think about this, Cinéma Pur (Pure Cinema) was created by filmmakers like Chomette, Léger, and Clair in the early part of the twentieth century. Filmmaking was new at that point in history and these people were already attempting to step back and make it a more pure and organic process. Those people lived in a different age than we live in. They possessed a different set of available tools and influences, yet they sought to bring filmmaking back to an artistic sourcepoint. Me too.  That’s what Zen Filmmaking is all about. Is Zen Filmmaking based on Pure Cinema? No. Am I influenced by it? No. But, I do appreciate their ideologies as I have walked a similar path of inspiration.

Cori Tate What made you become an independent filmmaker?

Scott Shaw Wow, that is a deep question and there are probably a million answers. Mostly I’ve always been an artist. Since a very young age I was also a photographer. At a certain point it just become a natural progression for me.

Cori Tate Most independent filmmakers seek out production companies to finance their films. Why haven’t you followed that path?

Scott Shaw Because I don’t want anybody controlling what I do. If somebody is paying you then they control what you create. If someone is controlling you, if someone is telling you what you must do and when you should do it, then it is no longer art. I am an artist. You may love my art, you may hate my art, but my films are made with art as their focus. If someone is financing you, they have one goal and that is to make money. To make money you have to supply a product that the masses will appreciate. You’ve seen my films; do you think the masses can appreciate them?

Cori Tate Yes, I do.

Scott Shaw Wow, that’s a first. Thanks.

        With this I end the interview with Scott Shaw the Zen Filmmaker.

         Scott Shaw is a truly unique believer in art and the art of filmmaking. Though his words may have a certain seriousness to them, there was never a moment that he did not possess a big smile on his face. As we parted company he said, “If you ever need any help making a film, don’t hesitate to call.” I think this is probably the biggest revealer about Scott Shaw. He is a truly helpful individual who does what he does not only to create art as he sees it but also to lend a hand to all of us who are attempting to climb the ladder in the filmmaking industry. Thank you Scott Shaw.

Copyright © 2012 – All Rights Reserved.

 

Scott Shaw: Speaking with the Zen Film Master  @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Film Reviewers: Getting it Right. Getting it Wrong. By Scott Shaw

By Scott Shaw

            When you create something, it is always curiously interesting to find out how other people view it. When you create something with art as a basis; be it a painting, a piece of literature, a photograph, or a movie, mostly people describe how they feel about it – if they like it or if they do not.

            As we all come at art from our own preconceived notions and personal tastes, I always find it curious how other people come to define my work. Sometimes they get it right. They understand what I was doing. Other times they get it totally wrong.

            I guess that is the basis of art, at the sourcepoint the creator understands what they are doing and why they are doing it. And, in most cases, the creator likes what they have created. Someone who was not involved in the creation – someone who has no vested interest in the work, may not understand the creative source-process and they may not like it. That’s just life. That’s just art and the interpretation thereof.

            As I have written in various places in the past, and even in an article I wrote, “Film Reviews: Fact or Fiction,” as many of my films have been reviewed in magazines, books, and on the Internet over the years, I find it very interesting when the reviewer gets things right and more particularly when a reviewer get things wrong but presents their words as facts.

            Now, I’m not speaking about when people hate my films and totally rip them. That’s fine with me. If you don’t like it, you don’t like it. Whatever… I’m speaking more of when someone does not possess all of the facts, but writes as if they do, and presents the overall process incorrectly.

            Recently someone sent me a copy of a book where the author mentions a couple of my films and one film made, (at least in part), by my Zen Filmmaking friend, Donald G. Jackson (RIP). The book was pretty good. My stuff got discussed in the, “Honorable (and Dishonorable) Mention,” chapter. That was fun and amusing. But, the author got a few things wrong. Let me explain…

            In one chapter, he discussed Don’s film, Pocket Ninjas. I believe he got his source information from the Internet, because he states that Don and the executive producer were trying to make The Roller Blade Seven for kids. This is not true. This was not at all the basis for that film – though I have seen it detailed as such on the Internet. Don was simply obsessed with roller skates and later roller blades from the 1970s forward. He came up in the era of pretty girls on skates. So, he would integrate that into his films whenever possible. Plus, though he never personally trained, he loved the martial arts. As such, he would also feature the martial arts in his movies wherever possible. Thus, was the basis of Pocket Ninjas.

            The author also attempts to detail the relationship between the executive producer and Don in the book. Again, I guess he got the information from the Internet because it mirrors what I have seen but it is essentially wrong. The executive producer did not come to Don; Don had our friend Mark Williams (RIP) write a script based on an idea he had. He then took the script to the executive producer.

            I had previously worked with the executive producer and he is a very nice guy. Don had also known him for years.

            The executive producer was a formalized filmmaker; he had no intention of making a Zen Film. Pocket Ninjas was in no way a Zen Film. Bad, yes. But, not bad because it was a Zen Film.

            In the book, the author details Don’s removal from the film. But, he gets it wrong. The reason for the relationship collapse and Don being pulled was that the executive producer felt Don was letting production fall behind. Don, on the other hand, blamed the producer, who became the credited director. It was one of those common Hollywood dilemmas. Nothing new here… But, we all still remained friends.

            That’s the story. I hope the world will finally get it right.

            The author also discusses The Roller Blade Seven and Max Hell Frog Warrior in his book; explaining that they are two of the best-known Zen Films. Maybe…

            Roller Blade Seven is certainly, without a doubt, the most well known Zen Film, as it was released theatrically, on T.V., and by other methods around the world. Actually, Max Hell is somewhat lowered down the list. Here in the U.S. there has been a certain amount of talk about the film. They even mentioned it on the HBO T.V. show, The Newsroom. Thanks! But, the fact is, other Zen Films such as: Samurai Vampire Bikers from Hell, Guns of El Chupacabra, Undercover X, Hitman City, Vampire Blvd., Vampire Noir, and Super Hero Central have all been much more widely distributed. But, that fact would be impossible to know unless someone asked me. ...Which no one did.

            The author also makes an attempting at describing Zen Filmmaking. Certainly, I realize that is a bit of a complicated matter. :-)

            And, the problem is, most people who talk about it, don’t really get it. But, this author provides a fairly good overview. Good job!

            In his description of Zen Filmmaking, however, the author details that in Zen Filmmaking shots are often repeated. The fact is, to date, this is only true in the two films he mentions. It is not a common trait of Zen Filmmaking. The basis for this technique being used in the two discussed films is, Roller Blade Seven was the first Zen Film. We set up that film-style in that movie which we created in 1991 and 1992. Don and I did not make another film together until 1996 when we created Toad Warrior, which later became Max Hell Frog Warrior.

            When we reconvened as filmmakers, we decided we wanted to capture some of the essence and energy of Roller Blade Seven, which is why I wore basically the same outfit and we again employed that editing style. But, no other Zen Film that Don and I made as a team or that I have made employs that editing technique.

            This is one of the things that those who watch a Zen Film commonly misunderstand – particularly the two films that were detailed in the book; Zen Filmmaking is constantly evolving; it is never a stagnant art form. Each film brings with it its own unique sense of creativity and artistic expression. And, the two discussed films are very different from every other Zen Film ever made. Ultimately, that is the essence of Zen Filmmaking, embracing the moment and allowing the creative environment of each film to guide you down the road to cinematic enlightenment.

            But, as was embraced by P.T. Barnum and Andy Warhol, “You may have gotten a few things wrong but thanks for the publicity Mr. Author.”

Copyright © 2012 – All Rights Reserved

 

Film Reviewers: Getting it Right. Getting it Wrong. @ Scott Shaw.com

Scott Shaw Zen Filmmaking