Scott Shaw: The High Priest of Zen Filmmaking

This is an interview conduced with Scott Shaw in 2006 and originally published in a European film magazine. It can also be found in Scott Shaw's book, Zen Filmmaking.

By Kelty O’Bannon

            Scott Shaw, the creator of Zen Filmmaking, has continued to change the way filmmakers view their process of creation. He has been writing about this style of filmmaking for the better part of twenty years and has taken-in many converts to his realms of understanding.

            Shaw is much more than a filmmaker with a unique set of ideals about filmmaking, however. In fact, he came to the art form of filmmaking rather late in life — at the age of thirty-two. Prior to his emersion into the craft, he was a well-known martial artist and a well-published author on the subject of eastern religion. Each of these factors helped Shaw to create a unique and new understanding of the art and craft of filmmaking.

            Though Scott Shaw was not the first film director to employ improvisational acting as a tool in the creation of a film, he was the first to formalize a method where each filmmaker can embrace the most natural elements of improv and Zen Buddhism and then integrate them into a method where they can utilize these foundational assets and create a truly unique piece of filmmaking. He has created this new style of filmmaking with such precision that many noted filmmakers have borrowed from his ideology and integrated this method into their own.

            For this article, I speak to Scott Shaw in a restaurant in Beverly Hills, California. Beverly Hills is a city that flanks Hollywood. We sit at a table surrounded by many of the Hollywood A-list players, who are having lunch. Due to our surrounding, I cannot help but be motivated to ask Scott Shaw my first question.

What do you think of Hollywood?

I think it’s all bullshit.

What do you mean?

If you are referring to the generic term, “Hollywood,” where all the films are made and all the people get famous, and everyone thinks this is the place to be, then it’s all bullshit. Most people who come here to be famous leave very disappointed. Hollywood has nothing to do with art. And, fame has nothing to do with talent.

What does it have to do with?

Luck and who you know.

Why then did you get involved in the filmmaking profession?

Like I always say, I hope to be a beacon of light in a sea of darkness.

What do you mean by that?

Well, first of all, I didn’t come from a family based in the Hollywood industry. I didn’t grow up rich. And, I didn’t have friends who could walk me though the door and get me inside the industry. So, I had no easy way in. Plus, I wasn’t a pretty girl or a man willing to fulfill the desire of other men to get whatever I wanted. And, believe me, that is the ticket that many successful actors, actresses, and filmmakers have used to become successful in the industry.

So, what did you do?

I simply embraced my art.

What do you mean?

When I first stated out, I had the same aspirations as most of the people who come to Hollywood to get into the industry. The only difference with me was, I was born here. Just like everybody, I hoped to be a star overnight. Which caused me to turn down a lot of roles that probably could have actually helped my career. But, I was also lucky. I got my SAG card really quickly. Actually, I was cast for a role in a union film on like my second audition and I began to move my way through the industry.

What happened next?

I quickly saw that most of the industry, particularly the independent sector of the industry, where new actors get their feet wet, was full of a lot of wanta-bes who waste everybody’s time making promises about films they will never complete.

What happened to you next?

Well, I met Donald G. Jackson and I created Zen Filmmaking.

Wow, what a jump.

Yeah, I guess it was. But, you have to understand, all of life, not just being in the film industry, is based upon foundations. By the time I met Don, I had been a serious photographer for almost twenty years. I had been very involved in eastern mysticism virtually my whole life, and martial arts since I was six years old. I had my photographs shown in galleries around the world and used in tons of publications. In addition, I had made several documentaries in Asia. So, when Don and I started working together, I was ready.

I have to ask you because I have seen it written in several places. Is it true that you were a monk?

Yes, it is. I was first a Bramacharaya and then a Sanyass (a Swami) for several years.

How did that affect your life?

It is pretty simple and straightforward — though I no longer wear the orange robes, the essence of who that person was has never left me. I simply am more interactive with modern society.

Your early filmmaking is closely linked to Donald G. Jackson. How did you two work together? Was it a democracy?

No. A democracy indicates that there are two or more points of view. This was not the case with the films Don and I created. We worked together as a single-minded team. Sometimes he would have the idea. Sometimes I would have it. But, we never doubted each other’s end results.

Some people refer to Donald G. Jackson as your mentor. Is this true?

Creatively, we were an equal team. But, when I first met Don, he certainly had much more experience in the independent film industry than I did. So, in that regard, yes, it is true. In fact, when he was living the last few months of his life in the hospital, before he died, he would introduce me to all of his doctors and nurses as his son. So, I guess he viewed me as a son. But, in reality, I was the computer guy. So, when the digital age hit, it was me who was guiding the ship. But also, if you look at my life prior to meeting Don, what I had accomplished stands clearly on its own merits. Plus, the minute Don and I finished the first two films we made together: The Roller Blade Seven and Return of the Roller Blade Seven, I immediately went off to make my own films. So, I see the early time of our collaboration as Don was the technical end and I was the creative and spiritual side — as he always would turn to me for spiritual advice. Later in his life he would always say about me, “The student has become the master.” So, make of that what you will.

There have been many critics of Donald G. Jackson. Was there a downside to working with him?

Yeah, there were many. To put it kindly, Don was a complicated guy. But, he always treated me with the utmost respect. And, we made some great films together. So, even though there was always a price to pay, that was attached to working with him, what we created would not have been created had we not teamed up.

Where did he get inspiration for films?

In regards to filmmaking, he had an interesting characteristic. Some may call it undesirable. In that he was a lot like Quentin Tarantino. He could view previously created projects — whether they be comic books, movies, or whatever, and then reinterpret them to suit his own ends. Don was notorious for confiscation, or at least attempting to confiscate, other people’s ideas. He tried to do that with me a few times.

What happened?

No comment.

How do the films you made with Donald G. Jackson differ from the films you have made without him?

Don was a comic book orientated guy. Much of his inspiration came from that genre. Me, I am an urban kid. I was born and raised in some of the worst parts of L.A. So, that’s my inspiration. I love the abstract beauty of the inner city and the stories the city has to tell.

What is the symbolism of the Happy Face emblem that is seen in the films you made with Donald G. Jackson?

That was basically Don’s creation. You have to look back to the 1970s to see the inception of this. In the 1970s the Happy Face was everywhere. So, Don took this and made it a commentary on society and a signature in his films. It was one of those things that each of us, as we get older, hold on to in order to remember a specific era that meant something to us. And, that was Don’s.

In virtually all of your films, there is at least one image of the Buddha. How does that tie into your overall filmmaking message?

Don had the Happy Face, mine is the Buddha. It is just my way of subtly suggesting that the audience stay conscious and embrace the mystical.

You have filmed several of your movies in Asia and virtually all of your films, at least partially, in Hollywood. What can you tell us about that?

That is my yin and yang. I was born in Hollywood and grew up in South-central L.A. and Hollywood. Hollywood is the center of the universe for filmmaking. But, Asia is where my heart is. Asia’s abstract mystical nature, its beauty – that is who I am. So, I film there whenever I have the chance and then come back to Hollywood to add the structure to the story. The other side of it is, I am from Hollywood, and so I know it inside and out. But, the rest of the world does not. They see Hollywood as this grand illusion — the place to be. In my films I try to show the more gritty side of Hollywood, to illustrate the true nature of this city.

There are certain people, other than Donald G. Jackson, that have worked in a production capacity with you on several of your films, most noticeably Hae Won Shin, Kenneth H. Kim and Kevin Thompson. What can you tell us about that?

Well, Hae Won has worked with me since I first got into the industry. She has helped me in many ways — in virtually every capacity. She has a degree in photography, so she has been my cinematographer; she has helped me in production and has been an actress in my films when I need to fill in the storylines. Ken, I met early in my emersion into the industry. In fact, I met him when we were actors on one of the first films I was cast in. After that, he helped me put some of my early projects together and we did another film together a couple of years ago. I was introduced to Kevin when I was about to begin production on Undercover X. We needed one final lead-actor and Richard Magram, who was producing the L.A. portion of the film with me, suggested Kevin. And, he was perfect. Kevin is one of those people who just, “Gets it.” He completely understands my style of filmmaking. I call him up and tell him I am putting a new project together. He doesn’t even ask what his character will be. He just asks, “When and where.” He is a great guy and a great actor to work with.

Do you think it is important to work with people like that?

Absolutely. I think every filmmaker; whether they are in the low or the high budget side of the industry finds cast and crewmembers that they work with over-and-over again. By working with someone you know, you understand what to expect and this just makes every project easier and better.

It seems that your early films were martial art orientated. That has seemed to change. Can you tell the readers about that?

You have to understand, I have been a martial artist since I was six years old and watching people beat each other up on film has just gotten boring. But, more than that, most martial artists who are actors have really bad attitudes. I just don’t want to deal with them anymore.

Another thing I have noticed about the evolution of your films is that you have begun to use much smaller casts.

Yes, that’s true.

Can you tell us about that?

Again, it has just been an evolution for me. I used to like to add a lot of character-driven texture to my films. That meant there were a lot of people in my films. Some had large parts and some roles were much smaller. Now, I see my films much more as intense character studies. So, I keep the number of cast members way down.

What is next on the horizon for Zen Filmmaking?

Zen Filmmaking will forever evolve. It is not a static entity that cannot move forward or be reinterpreted. Each filmmaker who uses Zen Filmmaking, as a basis for their filmmaking, will find and evolve their own method of using it as a foundational factor for a freer style of filmmaking.

What advice do you have for filmmakers?

Drink a bottle of Italian red wine every night. Go out and a have a latte or cappuccino at least once a day at a coffee house. Workout in a gym several times a week. And. Live. Because this is where all the inspiration for filmmaking comes from —  living!

Copyright © 2006 – All Rights Reserved

Scott Shaw: The High Priest of Zen Filmmaking @ Scott Shaw.com

Scott Shaw Zen Filmmaking

The 100 Best “B Movies” of All Time

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

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

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

 

Scott Shaw Zen Filmmaking

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

The Entire Three Part Article originally published in Film Fantasy Magazine

Scott Shaw

Speaking with the Zen Film Master

Part One

By Cori Tate, M.F.A.

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

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

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

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

Scott Shaw Thank you. Which one is your favorite?

Cori Tate Undercover X.

Scott Shaw That’s one of my favorites too.

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

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

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

Scott Shaw Sorry. Ask away.

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

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

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

Scott Shaw Zen Films.

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

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

Cori Tate Do most people understand your Zen Filmmaking style?

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

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

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

Cori Tate Then how did you work together?

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

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

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

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

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

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

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

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

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

Scott Shaw

Speaking with the Zen Film Master

Part Two: Zen Filmmaking: The Process

By Cori Tate, M.F.A.

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

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

Scott Shaw Let’s do it.

Cori Tate Why no script?

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

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

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

Cori Tate So you guide your actors on the set?

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

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

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

Cori Tate What is the average budget for your films?

Scott Shaw I try to stay right around $300.00.

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

Scott Shaw Yup.

Cori Tate How do you do that?

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

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

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

Cori Tate So you suggest people practice making films?

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

Cori Tate What kind of equipment do you use?

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

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

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

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

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

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

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

Cori Tate What do you do then?

Scott Shaw Just go and shoot somewhere else.

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

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

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

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

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

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

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

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

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

Scott Shaw

Speaking with the Zen Film Master

Part Three: Scott Shaw the Filmmaker

By Cori Tate, M.F.A.

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

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

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

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

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

Cori Tate You’re welcome.

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

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

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

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

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

Cori Tate Why do you do that?

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

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

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

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

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

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

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

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

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

Cori Tate Will you always be a Zen Filmmaker?

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

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

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

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

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

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

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

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

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

Cori Tate What made you become an independent filmmaker?

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

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

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

Cori Tate Yes, I do.

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

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

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

Copyright © 2012 – All Rights Reserved.

 

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

Scott Shaw Zen Filmmaking

Zen Filmmaking and the Non-Narrative Film By Scott Shaw

By Scott Shaw

            At the heart of Zen Filmmaking is the ideology that, “The stories have all been told.” Therefore, why attempt to tell the same story that has been filmed a thousand times, over-and-over again, simply by providing it with a different title?

             This is one of the primary reasons why in Zen Filmmaking we do not use scripts. Though the Zen Filmmaker may begin with an overview of a story concept, they allow the naturalness of non-defined organic, spiritual inspiration to be the only guide in the formation of the Zen Film. As nothing is etched in stone, (i.e., no script), the Zen Film is allowed to develop in a natural and unhindered process. From this, the Zen Filmmaker frees themselves from the constraints of a formalized story and enters into the world of artistic cinematic creation. By allowing the film to evolve in its own naturalness during the filming and particularity the editing process, many a Zen Film has been created.

            There have been many Zen Film created with this technique as a foundation. But, the next evolution of Zen Filmmaking is the non-narrative film.

            What is a non-narrative film? With no need to tell a story, an entire film is simply allowed to be what it is – constructed with film footage the Zen Filmmaker deems appropriate to edit into one cohesive product.

            No story need be told, as all the stories have already been told. No definitions of filmmaking particulars need to be defined: such as a particular filming technique, delineated lighting, specific character development, or formalized editing. The footage that is shot is allowed to be what it is and is then put together via the freedom based, ongoing cinematic vision of the filmmaker.

            Freedom is the essence of Zen. The non-narrative Zen Film is, therefore, the absolute embodiment of Zen.

Copyright © 2011 – All Rights Reserved

 

Zen Filmmaking and the Non-Narrative Film @ Scott Shaw.com

Scott Shaw Zen Filmmaking

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

By Scott Shaw

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Copyright © 2012 – All Rights Reserved

 

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

Scott Shaw Zen Filmmaking

Scott Shaw and Donald G. Jackson Zen Filmmaking

Scott Shaw and Donald G. Jackson Zen Filmmaking 

Click on the title to watch Scott Shaw and Donald G. Jackson discussing Zen Filmmaking on YouTube.

Scott Shaw Zen Filmmaking

Zen Filmmaking: Now and Zen By Scott Shaw

By Scott Shaw

            Zen Filmmaking  has gone through a lot of evolution since I first came up with the title and concept while Donald G. Jackson and I were making, The Roller Blade Seven back in 1991.

            Though there has been a lot of criticism of that movie, I think all that is very-very funny. Some people just don't get that we knew what we were doing. And, as I have stated time-and-time again, we did what we did very consciously. We meant to make that movie and the sequel the way we did.

            One the other side, there are a lot of people, who really dig the film. They get what we were doing. That's life...

            Anyway, as many of you know, at the heart of Zen Filmmaking is allowing actors to deliver their lines and develop their characters via guided improv. One of the main things to realize about Zen Filmmaking, particularly in regard to Roller Blade Seven, is that there was very little improv in that movie. That is accept for much of the dialogue delivered by Joe Estevez and Don Stroud. In fact, most of the lines spoken were fed to the actors by Don or myself.  Back then, Don and I didn't trust that most of the people could deliver their lines with any believability, if they were allowed to improv. So, we told them what to say.

            One of the greatest exchanges of the film, “You mean my sister that became your sister? Yes, our sister, sister...” Don and I had come up with while eating burgers at Tommy's in Granada Hills just prior to filming Frank Stallone. We had gone there to write down what dialogue he should deliver and we came up with the scene where Don and my character interact in the film for the first time.

            This trend of feeding lines followed through to Samurai Vampire Bikers from Hell. There was very little actual improv. in that film.  My friend and co-filmmaker on that feature, Kenneth H. Kim, and I came up with virtually all of the dialogue in that movie and then I pretty much fed everyone, everything.

            Ken, who was a budding screenwriter, wanted to write some of the dialogue. Though that is not in the tradition of Zen Filmmaking; as a friend, I let him have at it. And then, I let some of the more experienced actors in the film work from that premises.

            The greatest dialogue exchange of that film, I believe, is when in the opening of the film an actress, Kimberly Bolin, exclaims, “I thought you guys were going to take me to Hollywood!”  The response, “Hollywood... Hollywood's just a state of mind.”  That was a little ditty I had come up with on the spot and gave it to the actors.

            A memorable line, that I think really sets the tone of the film...

            Don liked to call himself a Zen Filmmaker. And, certainly without our interaction, Zen Filmmaking may never have occurred. But, in the films he made, where I was not involved, he virtually always based the film upon a script. Then, he would let some of the actors add their own interpretation.

            As I’ve continued as a filmmaker, since the days of RB7 and SV, I have continued to evolve the concept of Zen Filmmaking. What I have found is that if I surround myself with actors who can do what they do very believably – if they can be themselves. Then, they can really deliver a very natural performance. From this, the concept of improv. has continued to grow in my films. I get good people and then I let them run with it...

            Recently, when I was speaking with a potential actress, she asked me, “Does it always work?” No, it does not. There have been a few times when, mostly due to a person's ego, I have had to pull the plug and recast. But, it is rare.

            The funny think about Zen Filmmaking and its evolution is, most people have never seen my films that I believe are ideal examples of Zen Filmmaking. Films like: The Hard Edge of Hollywood, Blood on the Guitar, Killer: Dead or Alive, Undercover X, Hitman City, Super Hero Central, Vampire Blvd., or Vampire Noir. Most, have based all of their appraisal of Zen Filmmaking upon seeing, The Roller Blade Seven. Which, even I will tell you, was designed to be STRANGE.

            I guess, whatever... That's life. But, FYI, Zen Filmmaking has, and continues, to evolve.

Copyright © 2008 – All Rights Reserved

 

Zen Filmmaking: Now and Zen @ Scott Shaw.com

Scott Shaw Zen Filmmaking