Zen Filmmaking & Super Hero Zen Cinema From Hawk to Max Hell to Jack B. Quick Space Sheriff

 

By Scott Shaw

 

For obvious reasons, I’ve spoken and writing a lot about my film work with Donald G. Jackson. We created a new brand of cinema, ZenFilmmaking! Whether it was via interviews, through the articles and/or the books I’ve written, or via my teaching seminars and courses on filmmaking, I have presented a lot of the facts about how the films we made, (as a team), were created: the philosophy, the story development, the goings-on behind the scenes, the trials and the tribulations, and all of that kind of stuff. The reason for these presentations are obvious. I mean, let’s face facts, those films, and particularly the Zen Filmmaking philosophy we created, has become a big part of my life.

As I’ve said in the past, Don was a Comic Book guy. Me, not so much. This may have all had a lot to do with where and when we each grew up. Don, in a midwestern, semi-rural/industrial town, Adrian, Michigan, during the 1950s and me on the dark side of L.A. during the 1960s. He evolved one way and me another. He loved the fantasy of the Republic Serials and Comic Books. Me, I was more drawn to the urban nature of Motown and Blaxploitation cinema. We did, however, come together with our love for Spaghetti Westerns, Samurai Cinema, and the abstracts works born from 1960s Psychedelic Cinema.

Due to Don’s love for Comic Books, and Comic Book Cinema; especially on a few of the early Zen Films we created together, there was a Comic Book, Super Hero element presented in each of them.

The main Donald G. Jackson and Scott Shaw films that I can say were the most Comic Book, Super Hero influenced, were: The Roller Blade Seven, Max Hell Frog Warrior, and Guns of El Chupacabra. In each of these cases, it was Don who came up with my character’s name. Where the idea(s) for the character names came from, you would have to ask him, as I don’t know. I just heard them and agreed. Sadly, you can no longer ask him that, however, as he passed away over twenty years ago. The character and the character development were, conversely, created by both of us contributing ideas. We were a dynamic team.

Was Hawk in the Roller Blade Seven a Super Hero? Was Max Hell in Max Hell Frog Warrior a Super Hero? Was Jack B. Quick, Space Sheriff, in Guns of El Chupacabra a Super Hero? Those answers are, of course, debatable. I would say more of an Anti Hero. But, the Super Hero, Comic Book influence is present in each of those characters and active throughout all of those films.

There are truly some grand Super Hero’s in Comic Books and on the Silver Screen. In Comic Books and Graphic Novels, and with films that have large budgets, anything is possible. The sky’s the limit.

In Comic Books, anything can happen. The mind of the creator dreams it, puts it to paper, and the character lives. In high budget films, again, what comes from the mind of the creator can be made into a reality. On films with a shoestring budget, like the Zen Films Don and I made, this is not the case, however. You need to keep your ideas bound by the realms of your reality. The reality of your budget.

So, was what we created in the realm of Super Hero Cinema on par with the Bigs? Of course not. We knew they could never be. Thus, what we presented to the audience were the characters exhibited via the understand that they are living in an abstract reality. What is witnessed by the audience is the intent more than the actualization.

For example, in Armageddon Blvd., we presented a character named, The Rag Doll. Simply her physical movements, and the way she completely embraced her character, was a true presentation of Comic Book Mentality and Cinematic Art. This is the same with the character, Mime Girl, who appeared in a couple of our Zen Films and Music Videos; most notably in, Mimes: Silent But Deadly.

That actress completely embraced her role. To watch both of those actresses, they completely OWNED their characters! True art. True acting.

What I am saying here is that what Don and I created, via the very limited budgets we possessed, was at least partially inspired by his love for Comic Book Culture and our combined love for Artistic Cinema. Thus, though we did not possess the budget to take our productions to the place where they could be compared with the high budget Action Character Genres, what we did was to make Cinematic Art within the constraints or our limited resources.

Aside from Super Hero Central, the Zen Films I made, not in association with DGJ, were not Super Hero Orientated. I was and am far more interested in presenting the urban landscape. As abstracted as my film presentations of that urban landscape may be to some people. Certainly, my Zen Film like Samurai Vampire Bikers from Hell and Samurai JohnnyFrankenstein have a Comic Book quality to them. But, that it is not really their focus. Their focus is human interaction in the character’s living of their life.

More to the point, I believe what we, and particularly I, created was a genre onto itself, defined by nothing created before. Namely, a Zen Film.

Did I ever feel like a Super Hero in those films? No. I knew I was just a guy, with a background in the martial arts, trying to make a piece of Artistic Cinema.

The ultimately question becomes, when you attempt to pigeonhole any artistic project into a specific genre is, are you giving it credence by doing so or are you simply diminishing what it was truly created to be? That’s the question you need to ask yourself whenever you observe any piece of art, via whatever form it may take on. Are you judging it based upon what you believe you already know, via comparing it to projects of a similar category, or are you allowing it to be its own singular presentation, dominated or judged solely on its peculiar unique boundaries of creation?

To take this conversation a bit further, I recently thought about that multi-part parody that was made about Zen Filmmaking and myself, created by students at Grand Valley State University. I popped over to YouTube, where it is presented and found it was filmed seventeen years ago. Wow, time flies!

As I have stated in the past, I never met or conversed with any of the actors or filmmakers associated with that project. Except for one of the participants who contacting me before filming, asking me about where we got the Chupacabra monster, but when I told him that it cost like thirty-thousand dollars to create, I never heard from him again. I wonder where those people are now?

The guy who played Scott Shaw did a very funny portrayal, I thought. As did all of the actors. They truly hit the nail on the head, (as the old saying goes), in their presentation of the wildness of the Zen Filmmaking mindset. Particularly the Zen Films I created in association with Donald G. Jackson.

That parody was done at a time when Zen Filmmaking, Donald G. Jackson, and myself were on the lips of many people in the film industry and the surrounding communities. Times change, however. As is always the case. Now, it seems, not as many people speak about Zen Filmmaking.

Zen Filmmaking is not the only Art-Based and new style of cinema to fall from mass public discussion that rose near the end of the twentieth century. New styles of cinema like Dogme 95 have also seemingly fallen by the wayside.

Still, there are those who do discuss and attempt to describe and pick-apart Zen Filmmaking. The thing about those who do is, they generally get the understanding of Zen Filmmaking and the motivations of Don and myself totally wrong. But, that’s okay, that’s just life. People who aren’t busy living their own life and creating their own brand of cinema, or other artistic endeavors, need something to speak about.

The thing is, at the root, at the heart of all artistic endeavors, is the artist. They are the one(s) who create.

Not everyone is an artist. That’s fine. I’m sure people like that are doing other important things that contribute to this Lifescape. With this being said, as the artist is the creator of that something uniquely their own, this always needs to be at the forefront of any discussion about what that artist created; not simply a judgmental overview about what one individual thinks or interprets or claims to they understand about what and why that artist was doing what they were doing.

Don and I came from vastly different foundations, yet, we came together and created a new style of cinema. Sure, it was me who laid down most of the formation and philosophy for the method. That’s just who I am. Don was way too scatter for all of that. But, it was our coming together that created the inception and the means for this ratified method of filmmaking to be developed. Without that meeting of the minds, the formalization of Zen Filmmaking may never have taken place.

With all creative teams comes the input of the two or more people lending their understanding to the project or the projects they create together. This was the case of Donald G. Jackson and myself. Like George Lucas has stated about the characters he created for Stars Wars, he envisioned himself as the Luke Skywalker character. Though created on a vastly larger scale than anything Don and I ever did, what we each brought to the table was our interpretation of that Hero, Super Hero, Anti Hero, or just that Unique Character that was not just your average Any Body, because no character, in any of our films, was just that average anybody. They were all unique pieces to the puzzle of a cinematic universe created just slightly outside the boundaries of average reality.

I believe that the key to viewing, studying, researching, or discussing any form of cinema, or any type of art, you must step into the mind of the person or persons who are the creator. You must understand it from their perspective; their advantages and their limitations. For if you truly wish to understand the inception and the truth in any piece of art, via whatever form it may take, you must remove yourself from the equation. As is stated in Zen, if you wish to truly understand anything, you must become nothing. For all the things you believe you know, is only your ego talking. You can never know what any other person knows. At best, you can only guess.

If you wish to truly understand and appreciate any art, be silent, let the piece of art be what it is. For there is the only place where a true understanding of art may be gained.

Copyright © 2024—All Rights Reserved

 

This article can also be found on Zen Filmmaking.com @

Zen Filmmaking & Super Hero Zen Cinema From Hawk to Max Hell to Jack B. Quick Space Sheriff

 

Scott Shaw, Zen Filmmaking, and the YouTube Generation

 By Scott Shaw

Originally from the Scott Shaw Blog 

How much time do you spend on YouTube? No really, how much do you spend on YouTube? I mean, there is a world of free to view Everything on that platform, as well as more how-to stuff than you or I could ever have imagined.

YouTube is really not all that old. It was launched in 2005. That’s just about twenty years ago. Do you even remember life before YouTube? It is kind of hard to do so if you think about it.

Google actually had its own video platform before YouTube. But, it’s gone. Why? Only the powers that be at Google can answer that. It was pretty good.

There were a couple of other sites out there, on the world wide web, before YouTube that used to focus on movies and video presentation. I remember my Zen Filmmaking brother, Donald G. Jackson turned me on to one site, before his untimely passing. He had uploaded his film, Raw Energy to it and suggested that I may want to upload one or more of my Zen Films as well. Which I did. I uploaded the first version of Samurai Vampire Bikers from Hell. So, if you were around back then, and you got to see it then, you were able to view a very-very rare cut of that film. But, that site is long-long gone.

There was no money to be made, on that or other similar sites, like some people now do on YouTube.

I don’t make any money off of YouTube. First of all, I hate those pre and/or during video ads. So, I just don’t want to put viewers of my films through any of that. And also, because a lot of my films, especially my earlier stuff, (the one’s that are the most watched), are Adult Only, so you can’t monetize those anyway. Plus, YouTube doesn’t really pay very much. Not enough to make any difference in my life. So, why bother??? Just keep the Zen Filmmaking flowing for free.

The reality of life is, the days of the VHS, the DVD, and Blu-ray are over. Do you know anyone who watches any of those anymore? I don’t. Not even me. Not unless I am forced to. Now, it’s all about the Streaming. Thus, YouTube rules the game. …YouTube at least for those who don’t want to pay for the other more cash-involved streaming services.

But really… You can find a lot of cool, cutting-edge stuff on YouTube. Stuff that you will not see nowhere else.

So really, how much time do you spend on YouTube? If you don’t spend any, you are probably a more refined soul than myself.

My generalized focus on the platform is music videos and when I need to know how to do what I need to know how to do. It’s a great place to learn it. Also, I like to check out the demos of synthesizers, cameras, and the like. Mostly, there’s always something to learn or to waste your Life Time while viewing.

Zen Filmmaking has a home on YouTube. But, you probably already know that. I’ve uploaded a lot of my and Donald G. Jackson stuff onto the platform. And, it’s up there for FREE! So, if you feel like wasting some time, and maybe delving into the evolution of my style of filmmaking, you can check it out.

Or, and maybe even better yet, you can create your own cinema magic and show the world your creative skills.

YouTube, you can’t live without it. Or, can you?

 

This article can also be found on Zen Filmmaking.com at  Scott Shaw, Zen Filmmaking, and the YouTube Generation.

 

Copyright © 2025—All Rights Reserved

Every Scott Shaw Movies and TV Shows In Order [With Our Favorites Highlighted Throughout]

 

 

Here's a fun page on Serp Media where they list a bunch of my Zen Films and films I have appeared in with posters and info about each flick. Thanks!

Every Scott Shaw Movies and TV Shows In Order [With Our Favorites Highlighted Throughout] 

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

Scott Shaw and Zen Filmmaking: A World of Unconventional Creativity

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

The Zen Filmmaking Philosophy:

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

Scott Shaw's Journey:

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

Reception and Impact:

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

Further Exploration:

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

 

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

 

This article can also be found on Zen Filmmaking.com

Scott Shaw and Zen Filmmaking: A World of Unconventional Creativity

Samurai Vampire Bikers from Hell on YouTube - A Scott Shaw Zen Film - Zen Filmmaking

 

 

Check out Samurai Vampire Bikers from Hell on YouTube.

 For more informaiton about Samurai Vampire Bikers from Hell @ Scott Shaw.com click on the title.

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.

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

Scott Shaw Zen Filmmaking