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?

 

Copyright © 2024—All Rights Reserved

 

This article can also be viewed at:

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

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.

 

Copyright © 2009—All Rights Reserved

 

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

@ The Two-Day Movie

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

 

Studying the Filmmaking of Scott Shaw

 

By Scott Shaw

 

When I first got into the film game, at the ripe old age of thirty-two, I never thought too much about becoming an auteur. Yeah, I was an artist on canvas. So, I certainly understood what art was. Or, at least, what it was supposed to be. Yeah, I was a poet and a novelist, so I understood the construction of words in an art-filled way to tell a story. Yeah, I was a musician, so I understood how you had to play nice with other musical artists if you wanted to be in a band. But, for me, in the early days, I was just doing what I did.

I came into the game at a transitional time in filmmaking. Though film still reigned supreme. And, if you wanted to be considered a, “Real,” filmmaker you could only shoot on film. But, video was starting to make its inroads. With video, though still not cheap to make a movie, it was far cheaper than shooting on film. Thus, the flood gates opened. And, I believe I played a small part in that process.

But, whether it was shot on film or on video, a movie still had to be, “Made.” Someone, “The Filmmaker,” had to get out of bed and make it happen. They had to go through all of the stuff filmmakers have to go through if they hope to get it done. And, this is never easy. It takes a lot of focus and a lot of work.

For some reason, I was either blessed or cursed to have met and worked with Donald G. Jackson early in my emersion into the film game. Though crazed and mentally unstable by most standards, it cannot be denied he was a true artist; a film artist. The combination of him and I, though coming from very different states of minds and seeking very different life outcomes, we did find a balance which ultimately came to focus the direction of my filmmaking and lead to the creation of Zen Filmmaking.

Certainly, the first Zen Film, The Roller Blade Seven came to be a calling card for both of us and especially for me as an emerging filmmaker. It was/is a crazy film. Then, like now, few people get it. But, that’s okay. As far as I can tell, with all of the proceeding movies I have made, it is a work of art; true film art.

When I started out on that film did I plan for it to become what it became? Nope. I thought we would do an action-adventure piece. But, I’ve spoken about all of that elsewhere.

A few years after the creation of RB7, I am told that the film, and the foundational technique and philosophy used to create the film, became the discussion of a few classes on filmmaking, taught at respected university film schools. Nobody ever asked me (or Don) to come and speak about its creation, however. So, I can’t really tell you what was said. But, combine that with the next segment of Zen Films that I created and Zen Filmmaking began to become an expanded topic for discussion. That was all fine with me. 

With the birth of the internet, I used to receive questions all the time about how I did what I did. I also witnessed how some people were actually attempting to make their own Zen Films or redesign my techniques somewhat; shape and adapt them to their own methods. There were even a few people out there proclaiming the technique and did their own “Zen Films.” Great!  “Make it your own,” I would always say. I was even told about a few colleges where the instructor was actually leading a Zen Filmmaking class, having their students create Zen Films. Excellent!

Somewhere along the way, however, it seemed the focus of attention begin to shift. I kind of saw this with the advent of, “Influencer,” or, “Content Creator,” culture. Some people begin to reach out and use the films that other people had created as a sounding board for their own voice, telling their audience what they thought about what. With this, there seemed to arise a focus on the negative. Why? I believe it is because there are a lot of people out there who feel no real sense of self-purpose, so it is far easier to take the drug of hate than positivity, as it provides much more of a rush. With this, I witnessed the films I created shift and become targets instead of studied works of art.

I must intercede here and state, this is not and has not always been the case. I continue to receive a lot of well thought out questions and comments. But, as the focus has been taken off of me, (and Donald G. Jackson who passed away twenty years ago), the voice for Zen Filmmaking, and what it truly represents, has seemingly been taken over by the Content Creators who spout off incorrect facts, focusing on specific segments of the Zen Films simply has a means to draw fault, and create a negative-based appraisal based upon their own specific state of mind. Though they, more often than not, are wrong in their assumptions, many listeners simply choose to believe what they hear with no further research. Thus, they completely overlook the art of the Zen Films.

What I am saying here is, the focus on what Zen Filmmaking truly is has shifted from the realms of academia or true artistic questioning and has become lost to the minds of those who care more about making a name for themselves than in presenting the truth about Zen Filmmaking and the films of Donald G. Jackson and Scott Shaw.

I have spoken and written a lot about Zen Filmmaking over the years. It’s all out there if you wish to seek it out. But, the point that everyone seems to miss is that Zen Filmmaking is a spiritual process. It is about consciously embrace the Zen, permitting the moment to be the only guide, allowing the magic, that can never be planned for, to occur, and accepting the film art that is created for what it is, not what your mind hoped it would be. All of that seems to be lost in the recent discourses. All that seems to be portrayed is attack ads, voiced by someone who wishes to grow their following, not someone with a true vision for the arts and/or analyzing the purity of the process.

So, how does this affect you? What this tells us is that, for those of us who are artists, (whatever that art form may be), or for those of us who love and embrace the arts, we must step beyond the false reality disseminated by those who are not themselves artist or those who do not or cannot truly understand the art in all things creative. We must not allow our minds to be shaped by those with a negative, condescending, or hurtful mindset on any level. If we love art, by whatever name or form, we must understand that art is the creation of the artist. If, like me, that artists has a defined process, we must view that art based upon the understanding of that process. Mostly, as an artist or an art lover, we must embrace the fact that judgment is never the cornerstone of any discussion on or about art, as art can ultimate not be judged. If it is art, if art was the intention in its creation, it must be observed by those standards and simply be allowed to be what it truly is, art.

Never allow the voice of those who base their life appraisal or their life work on negativity and criticism be your guide. Embrace the creative purity of art, by whatever form it takes.

Art is the ultimate art form. Let it be what it is.

 

Copyright © 2033—All Rights Reserved

Originally from the Scott Shaw Blog @ Scott Shaw.com 

Scott Shaw Zen Filmmaking

Casting the Script of Life By Scott Shaw

By Scott Shaw

For anyone who has ever thrown their hat into the Hollywood ring of acting they can quickly detail that when someone is casting for a film they provide a fairly detailed view of what they are looking for. For anyone who has ever been on the other side of the camera, creating a movie, they know that when they are casting a character in a film they have an image in their mind of how that character will look and how that character will behave. Look on any of the Breakdown Services that come out from the industry and each character has a name and a description. Filmmakers are looking for what they want that character to look like and actors are trying to become that character.

In traditional industry casting session you will find an untold number of similar looking people vying for the same role. Casting offices are full of them. And, this goes on everyday.

To be cast in a film the generally process is a hopeful actor is given what are known as, “Sides.” This is a limited amount of dialogue taken from the script. The actor then practices those lines, gets into a self-created costume, shows up at the casting office, waits with all of the other actors that look and sound just like them, and finally goes in to, “Read.”

That’s the game. People try to become the character in hopes of getting the role. But, most people do not get the role. In fact, some people go to an untold number of auditions and never get a role. They do this, spending all that time and all that money, until they finally give up. What did it all prove?

In some cases, once an actor has developed a name for himself or herself they are allow to play a role completely off-script. Think about it; think about some of the films you have seen where one of the known Name actors has not looked at all right for the role. Maybe it was their hair. Maybe it was their beard. Maybe it was their size. But, because of the fact that they had a, “Name,” they were asked to portray the role simply to bring buzz to the film. And, that’s all part of the game. The game of casting for life. People try to become while some people have already become. Some people will never become while others have become and do not even realize or care about what they have become.

Think about your life. Think about who you are attempting to become. Think about what you are attempting to portray. Is what you are projecting to the world actually you or is it simply and image of a person created by someone else—a person you are pretending to be?

In life, we all do all kinds of things to be seen the way we wish to be seen. This is what leads to lies, this is what leads to overspreading on clothing, this is what leads to anorexia, this is what leads to bad haircuts.

The thing that most people never take the time to realize—never have the capacity to realize is that what anyone projects is not necessarily a true representation of themselves. It is simply a game they are playing that is then projected to the world. How about you? What do you do to solidify your projection to the world? How does that projection contrast to who you really are? And, who really knows the truth about who you really are? Do you?

We are each two things. We are who and what we are in our minds. And, we are who and what we are that we project to the world. Some people are very true to themselves. But, these people are very few. Most simply lie about the truth that they project. They lie to themselves and they lie to others.

So, here’s the test. Who are you? Who are you really? What are you? What are you really? Who and what do you project to the world? Who knows who and what you truly are? Are you simply an actor attempting to get cast in a film and pretending to be something you are not or are you truly you? If you do not have a clear and honest definition of this you do not have a clear definition of your life.

Copyright 2019 -- All Rights Reserved

Scott Shaw Zen Filmmaking

Movies and the Things You Never Know By Scott Shaw

 By Scott Shaw

            For anyone who has ever created a movie, or any creative project for that matter, there are things that take place that only the people who were there truly understand. For everyone else, it is simply speculation, projection, or guessing, at best. This is why I forever find it troubling when someone describes what took place on the set of one of my films when they were not on the set. They don’t know! Yet, there they are, telling the world what they believed happened. But, it did not.

            People believe. That is one of the realities of life. They hear and they think it to be true. But, look around at life. Look at all the things you have listened to. Think of all the things you have heard. How many of those things were the truth spoken by someone who lived it verses how many of those words were simply someone’s interpretation of what they believed might have happened? Me, personally, whenever I hear someone talking about something they have no true experiential knowledge about, I tune out. Why listen to them? They know nothing!

            I think to some of the movies I have created or been a part of. There is the completed product. There is what the audience sees. There is what the critics interpret and judge. But, so many times I am confronted with the fact that what people construe, what people think they know about what took place behind the scenes is so far off the mark that it is almost impossible to calculate.

            I can think of one film that I have rarely spoken or written about to use as an example…

            In the world of independent filmmaking, there has long been this seeming need to bring people onto a project that have some name recognition. This is most commonly done in order to hopefully boost potential sales.  I have never been a fan of this process. For me, as a filmmaker, I have always been much more happy to introduce the unknown actor to the world. Yes, in some cases, I have become friends with, “Name talent,” so that is a completely other ballgame. But, “The Name,” for name sake, in independent filmmaking, has always proved problematic.

            I remember my Zen Filmmaking brother, Donald G. Jackson, was at the helm of this one film we created. The shooting title for the film was, “It’s Showtime,” but Don never liked that title so I changed it to, “Strip Club Nights.” The script was written by Mark Williams (RIP).

            Don was always a bit Star Struck. Me, growing up in Hollywood and all that… …Seen it all before… Anyway, Don decided to cast Don Stroud. Great guy! Great choice! Plus, the actor who become famous from the movie, Grease and the TV show, Taxi, Jeff Conway for the, “Name talent,” of the film. Now, by this point in time, Jeff had a sorted past and was known to be a problem on the set. Yet, Don wanted him even though I questioned his judgment. On the set, it’s time for Jeff to come on and do his part. He refused to leave his trailer even though he was a paid a lot of money to be there. Everyone was trying to coax him out, to little avail. The guy was obviously high as that is what he did. Don even ended up being a totally dick and yelling at the great actor Don Stroud due to his frustration. If I was Don (Stroud) I would have told him, “Fuck you,” and walked off the set. But, he was a total professional. Conway, on the other hand…

            Anyway, Don finally talked Conway out of his trailer. He delivered a piss-poor performance, constantly forgetting his lines, but that is what you get when you hire a person of his mentality. He wanted to be treated like a star. He wanted to be pampered and babied. He was in the film, he was a, “Name talent,” but at what cost?

            Now, this is a very obscure film. I could go into what happened with the master copies of it and all that but, again, that is just something that if you weren’t there you would never truly understand. In the past, I have been pointed to people who actually viewed the film and have spoken about this film. All I can take is a moment or two of that kind of stuff because immediately I realize they are totally wrong in what they say. They weren’t there! They don’t know! Yet, they talk…

            So, what is all this discourse about? It is about the fact that what YOU live is what YOU live. If you have not lived it, why are you even thinking about it? It was not your life. What you think you know about it is only speculation at best. Why waste your Life Time contemplating anything that you were not a true part of?

            Life is about experiencing. Life is about living your life. If you are attempting to live your life via the doings of someone else, all you have done is to turn your life over to them. You are attempting to live your life through them. What is accomplished by interpreting the experiences of someone else? …Experience you have not and cannot ever truly understanding.

            Live your own life. Experience what you experience. Don’t attempt to chart the anything of anyone else because you were not there. Don’t waste your time attempting to understand it, because you can’t. All you can do is live your own moment as fully as possible. This is the place/the space; the state of mind where living a GOOD life is formed. Forming the Pure Mind is not out there. …Thinking you know and telling the world about something that you never personally experienced. It is found by living a good life as inquisitively and as positively as possible.

            Live your own life. Talk about what you know. Speak about what you have personally experienced. Then your truly knowledge, your inner-realization may be rightly exhibited to the world.

Copyright © 2020—All Rights Reserved

Originally from the Scott Shaw Blog

Scott Shaw Zen Filmmaking 

Filmmaking: Keeping the Artist from Creating Art By Scott Shaw

By Scott Shaw

As most of the people reading this blog know, I’ve made a lot of movies. Whether or not the people reading this blog have seen any of them, well that’s a different story…

People often ask me, (because I’ve made so many films), “How long does it take you to make a movie?” The answer is, I have it down to a science. If I have a location, a cast, and a crew, I can shoot a movie in a couple of days, have it edited, and sound tracked in a week or so. So, within a month, the whole film can be in the can. And, in some cases, already released.

The reason I can do this is that I do everything. I do not delegate the jobs. I always have ideas, my equipment is ready to go, I am always working on new soundtracks, and I keep my software for editing functional and up to date.

The problem is, the devil is in the details, as the old saying goes. Ever since 9/11 it has become more and more difficult to find free locations to shoot at. Everybody thinks that you are up to something bad if you show up with a camera. And, you do get shut down. So, my lack of locations, in recent years, has truly hindering my filmmaking.

An ideal and somewhat amusing example of this happened to me when I went to shoot some stock footage in the L.A. Harbor. I didn’t even have a cast or a crew. I was by myself. I was grabbing some shots and The National Guard drove up and before I knew it I was in those plastic handcuff things. I thought I was on my way Gitmo. They were telling me, “We are at war...” Luckily, they checked me out and figured out I was cool, no threat, and just a filmmaker. They let me go with just a stern warning.

The other problem is, as I have detailed in so many articles and books, here in L.A., everybody thinks that they are going to be a star tomorrow. And, this mindset has continued to get worse. So, there is a lot of misplaced ego floating around.

This is not just the case for actors and actresses, as you may expect, but for crew, as well. I cannot tell you how many times I have had an entire shoot day ruined by the cameraman. Yet, they remain all full of themselves.

Though I am personally a very meticulous cameraman, as I appear in many of my films, I need someone to shoot some of the scenes.

From this, the question is often asked, “Why do I appear in many of my own films?” Again it goes back to egos.

With everybody thinking they are going to be a star tomorrow, you never know when somebody is going to get their panties in a bunch and walk off the set. With me in the film, I know I am going to show up and, therefore, can fix any problems with the story if some cast member leaves.

Outside of the industry, people don’t realize all of these subtle particulars. This is how producers get people to invest in a film. Because somebody doesn’t know what to expect, they expect nothing.

I know producers are always promising the investor everything: how much money they will make, how they are part of the greater good, how great the cast, crew, and director is. They are told they will get an executive producer credit and they pull out the checkbook. Everybody wants to be a part of the film industry, don’t they? But, these words are all bullshit. Nobody makes big money on little films. Well, at least not the investors. Maybe the distributors…

The whole essence of my filmmaking style, Zen Filmmaking, is freedom and art. It is about removing as many obstacles as possible from the filmmaking process. But, the unfortunate reality is that times have changed. So, I do not make near as many movies as I could. Or, as some believe, I should. And, it’s sad because all I need is place to shoot a film and a few competent and willing participants. I don’t even need or want money.

By the way, I never take money from investors. It just makes everything too messy...

So, you see, every realm of art has it problems and its own set of unique circumstance that keeps the artist from creating. How long it takes for me to make a film is not the issue. The issue is, do I have a place and a posse.

Copyright © 2011—All Rights Reserved

Originally from the Scott Shaw Blog

Scott Shaw Zen Filmmaking

You Wanta Make a Movie? By Scott Shaw

 By Scott Shaw

I’ve been professionally in the film game for about thirty years. In that time I have witnessed a lot. There has been a lot of changes in technology, audience reception for films, and the attitudes that people bring to the table when they wish to become part of a project.

I have met some really great people in association with filmmaking. People who are a pleasure to be around and great to work with. I have also met a lot of not so nice people—people who bring their own weird agenda to the table and/or do some really uncool things on and off of the set. But, that’s just the nature of the beast.

One of the main things I have realized, in all of these years of filmmaking, is that most people do not want to partake of the craft. Sure, many-many people have dreams of being a filmmaker but very few step up to the plate and actually conceive of a project, learn how to actualize it, and follow it through to completion. There are a lot more people who simply want to walk on a set, spit out a few line, and walk away a star. That’s great! Good for them. But, not many of them are going to get very far in their quest.

Being based here in Hollywood, there are all of these people who come here with the dream. I have spoken about this subject in a lot of my articles and books on the subject. Many of them believe that if this certain famous person could do it, so can they. Sure, that’s a great belief to have. Unfortunately, of the literally millions of people who come here, maybe one in that group makes a name for themselves. The rest are left going to auditions (if they are lucky enough to get an agent) for roles they will never get or being an extra.

All this being said, early on in my immersion into the film business I realized that the true art of filmmaking is behind the camera. Actually creating the film. There you possess some control over what is actually being produced. There, at least you can create a something, as opposed to hoping for something to be created around you.

Throughout my years in the film business, I have actively tried to help other filmmaker actualize their dream. I offer people crew positions when I have them available. I give them advice when they ask me for it and so on. I have even offered to create a movie with some people who seem to be very driven. But, what I have experienced more times than not is, even the person who really talks the game, even the person who really expresses the desire, even the person in film school, when push comes to shove and I say, “Let’s make a movie,” they always find a reason not to. What happens to their career? I don’t know. They never do anything. But, the reality is, it did not have to turn out that way. They could have joined forces with me (or anybody else) made a movie and got their name out there.

Sure, as stated, there have been a lot of people who have worked with me over the years. They did something with their filmmaking dreams. They achieved something. But, there have also been so many more that have not.

Yes, yes, periodically people ask me to finance their films. But, I don’t do that. I have seen way to many people take money from whomever and never finish what they started. Dreams and promises mean nothing in this business.

As a personality, I am frequently asked to be an actor in other people’s films. Like I always semi joking tell them, “The only bad movies I’m in are my own.” But, the truth is, I am an active member of the SAG/Aftra Union so I cannot be in a nonunion film—which most indie films are. But, I am asked by the people who are already out there doing it. They are living their dream. They are actualizing their creative vision. If they ask me to help them behind the scenes, I am happy to do. And, that’s the thing, particularly in the realm of indie filmmaking, you help each other out. From this, new realities of cinema are created.

So, what am I saying here? …Particularly in this day and age, there are filmmaking opportunities everywhere. You can make a movie with your phone! You simply have to have the fortitude to actually do it. Sure, dreams are great. But, if you don’t make your dreams your reality then they are nothing more than something that is locked inside your head. …Lost forever inside of your brain.

If you want to make a movie, make a movie! Reach out to people that you believe can help you and get it done!

All creation is art. It doesn’t matter if it is loved or hated by the masses. Who cares what they think? The only criteria is, if you get it done, it becomes a something and from this you have become something, a creator.

Create. Make art. Make Cinema.

Copyright © 2019—All Rights Reserved

Originally from the Scott Shaw Blog

Scott Shaw Zen Filmmaking