Would Your Ever Make Another Roller Blade Seven? By Scott Shaw

 

By Scott Shaw

Here is an article I wrote a couple of years ago. As I have recently been asked this question several times I thought I would repost it here.

            “Would you ever make another Roller Blade Seven?” I get asked this question fairly frequently. In fact, as RB7 was recently named number twenty- seven of, “The One-Hundred Best B-Movies of All Time,” by Pulse Magazine, (thanks guys), I have been asked that question several times this week. Last year the question was asked a lot when I was named number ten on the list, The Best Movie Trash Creators on imdb.com.

            To answer, “Yes, I would.” In fact, I would love to make another film of that caliber. The problem is, what we did then, for relatively little money, would be very-very expensive to do today.

            Don Jackson and I made Roller Blade Seven and Return of the Roller Blade Seven for about thirty-thousand dollars. We shot it on 16mm and doing that, in itself, is not cheap. During the production our executive producer had us add extra, “Name Talent,” which wasn’t in the original deal. We had set the Name Talent standard at two: Don Stroud and William Smith. But, she kept getting new ideas so the money went out: Karen Black (RIP) was $3,000.00 and Frank Stallone was $6,000.00. Now, I was happy to work with both of these people, as they are both very talented actor, but they did cost money.

            More than that though, when we made RB7 it was a different time in the film industry. People wanted to be a part of something. So, virtually every person who was in the film, including myself, was paid no money for his or her participation. But, they were happy to do it. I mean if you look at some of the scenes, there were upwards of over fifty people in one shot. They were all great and very nice people. I say, “Thank you,” to each and every one of them.

            Also, we shot RB7 with no filming permits. We would simply go to the locations we had picked and film.

            It was a different time. You could do things like that. At one point, when we were shooting out in the desert, a sheriff’s helicopter landed to check us out. As long as we had no guns, which we didn’t, they were all good. They flew off and filming continued...

            Since 911, everything has gotten sketchy, however. It is much harder, if not impossible, to shoot with that many people with out getting filming permits, renting the location, and all that entails... Hell, it’s hard to shoot with even a couple of people nowadays. Which means, it would cost a lot of money to bring a film like RB7 up again.

            Now, RB7 was not without its problems. Though I wrote a long chapter about the production of the film in my book, Zen Filmmaking, I plan to write another article, “Roller Blade Seven: Darkness in the Light,” or maybe even an entire book on the subject about all the positive and all the negative things that took place during filming and post production of the film; including the fact, I was totally broke by the end of the production, so much so that I had to sell my 1934 D’Angelico New Yorker, just to survive. A guitar I have never been able to replace. And, that’s just one story... A lot of shit went down before, during, and after production. There are a lot of untold stories to tell…

            But... All this being said, people still watch and talk about the film and that is great! Many hate it, calling it one of the worst films ever made. Maybe... But, many also like it. They love the bizarre, psychedelic, abstract nature of the first Zen Film.

            In closing, “Would I ever make another Roller Blade Seven?” Sure, I would love to do another Roller Blade Seven. In fact, Don and I planned to do the next chapter as, Wheelzone Rangers. But, we got distracted and made other films; both individually and as a team and never got around to doing it. Then, he passed away and all that is left of the Zen Filmmaking team is myself.

            All this being said, if someone out there has the money, a lot of it, (I know I don’t), and would like to finance another bizarre wild ride into the Wheelzone, give me a call. I am willing and I am available. :-)

Copyright © 2014—All Rights Reserved

The Roller Blade Seven @ Scott Shaw.com

 Scott Shaw Zen Filmmaking

Zen Filmmaking By Scott Shaw

I was recently asked a question about the theory and the possible downside of Zen Filmmaking. My answer pretty much sums up thoughts on the subject. This was my response: 

            Zen Filmmaking is really about freedom – it’s about freeing up the entire process of filmmaking and allowing the inspiration of the moment to be the only guide. As Donald G. Jackson and I both agreed, “All the stories have already been told,” so why bother attempting to tell a story, with a limited budget, that has been far better depicted in a high-dollar film? But, more to the point, to go into a filmmaking project with a formalized script leaves the filmmaker left simply trying to reenact what is written upon the page instead of allowing spontaneous, true artistic creativity to be the guide in a film’s creation.

            The downside to Zen Filmmaking, (if you can call it that), is that there is little story structure.  Some finished Zen Films end up with a much more coherent storyline than others. But, story structure is not the sourcepoint for creation in Zen Filmmaking. As a Zen Film is formulated at the editing stage, you are never quite sure what you will end up with. For some filmmakers they love this freedom. But, for the average filmmaker and for the typical movie going audience, they may not. 

            Zen Filmmaking is about art and spiritually-based artistic expression, while waiting for those moments of cinematic satori. It is not about structure, nor is it about catering to what a particular member of the audience may be expecting or looking for. Zen Filmmaking is cinematic freedom created by capturing moving images. 

 

Copyright 2016 All Rights Reserved

 

Scott Shaw Zen Filmmaking

Zen Filmmaking: Movies in the Moment By Scott Shaw

By Scott Shaw

            As I often detail, life is lived in the moment. Our life is made up of days, weeks, years, decades, but it is the precise occurrences that take place within specific moments of our life that we live to the utmost and truly remember.

            From a filmmaking perspective, when a movie is moving being filmed, we shoot all kinds of footage to bring together and create a feature film. For those of us who are cinematographers we try to capture images in the best and most artistic manner possible. For those of us who have edited movies, there is no doubt, we have seen specific moments within the entirety of the filmed footage that are truly interesting; presenting a visually stimulating image and possibly even giving birth to cinematic satori. As the editor of the film, perhaps that image is beautiful or thought-provoking but as it contributes nothing to the greater whole of the film being constructed, that scene is left behind and probably lost forever. 

            Zen Filmmaking is ultimately about forging a pathway to cinematic enlightenment. It is about taking the art form of filmmaking and creating something artistic, interesting, and mentally stimulating, while removing as many preconceived notions and obstacles as possible.

            Zen filmmaking is not a stagnate entity. It is forever evolving.

            More recently, the evolution of Zen Filmmaking involved the Non-Narrative Zen Film. Now, the next evolution of Zen Filmmaking is, “Movies in the Moment.”  What is a Zen Film: Movie in the Moment?  It is capturing a moving image, whether intentionally or not, and allowing it to find its own perfection on the screen. Whether this moving image exists in its own perfection for a few seconds or a couple of minutes it is allowed to be whole and complete onto itself; seeking no definition other than letting it be what it is.

            In traditional filmmaking you conceive, stage, light, and then film your subject. This is not the case with a Zen Film: Movie in the Moment. For a Movie in the Moment exists in its own perfection. It is simply you, as the witness, seeing the art and capturing it.

            In today’s world, capturing moving images has become as immediate as those transient images themselves. As such, a Zen Film: Movie in the Moment is the perfect art form for today.  It is free, it is easy, it holds no rules, no definitions, and it is perfect onto itself. It it simply the artistic vision of the individual who notices, realizes, and then films what is taking place.  

            Let your creative mind wander and when you a witness a moment that should be captured, do it. Create art.

            At the Zen Film Movies in the Moment Playlist on the Scott Shaw Zen Filmmaking page on YouTube you can see some of the images I have grabbed and cast to eternity.

            No rules. No definition. No Judgment. Just art.

Copyright © 2016 – All Rights Reserved

This article can also be found on zenfilmmaking.com @

Zen Filmmaking: Movies in the Moment

Making Something Out of Nothing By Scott Shaw

By Scott Shaw

            The world of filmmaking is something that is entered into by very few people. Yes, most everyone watches films and many have their opinions about the films that they have seen but few people have the creativity, desire, focus, and the fortitude to actually make a film. It is not easy.

            I often speak about how filmmaking was much harder and way more expensive a decade or two ago. Back then, before the digital revolution, everything was shot on film. And, when shooting on film you could never see what you had actually captured until that film was developed and put into a format where it could be viewed. Then, you had to sync the sound and edit the footage. All, very expensive. 

            The formula was, you could calculate approximately $1,000.00 a minute to shoot a 16mm film. As a feature length film is eighty-two minutes plus, you would basically calculate a $90,000.00 budget to complete an independent feature film. When we created Roller Blade Seven in 16mm for $30,000.00 it was quite an accomplishment and almost unheard of.  

            Then came the video revolution and next the digital revolution. People have now shot entire feature films, that have been shown on the silver screen, on their iPhone. Not only has filmmaking become exponentially cheaper, it is vastly more easily done, as well.

            All this being said, though filmmaking has become much easier and cheaper, still very few people step up to the filmmaking plate and actually create a feature length film. Yes, people talk and talk about the films other people have created. Some say, “They could do it better.” Some even state that, “Someday,” they will make their own. But, that someday never comes. All they do is talk.

            At the heart of filmmaking is creating something out of nothing. You have an idea for a film and then you find a way to get that film made both financially and technically. Then, you put together the cast and the crew and you actually create the vision that is your mind. Can you do that? Few people have.

            Here lies the essence of the arts. This is the factor that defines the true artist from those who all they have is their words.  An artist envisions their art, then they find a way to create their art. It is not easy. It takes a lot of work. It takes a lot of focused creative energy. But, once it is done, it is done, and art has been created. Loved or hated is not the sourcepoint of art. The creating of the art is the sourcepoint of the art and very few can actually do that. So, all we are left with is those who talk about the art others have created.

            Who are you? How do you live your life? Is your life defined by talking about the creations of others or is your life defined by creating your own art? Are you someone who can actually make something out of nothing?

Copyright © 2016 – All Rights Reserved

 

Making Something Out of Nothing @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Film Reviewers: Fact or Fiction By Scott Shaw

By Scott Shaw

            Ever since I first got into the filmmaking game I quickly began to realize that a lot of the magazines and even the authors of books put out fiction and claimed it to be fact. This has really intensified at the point when everybody got a voice on the internet. You don’t have to have any credentials anymore, so all kinds of people began saying all kinds of things – many of which had absolutely no basis in fact.

            When magazines and books began to discuss my films, back in the early 1990s, I quickly realized that many of them did not check their facts at all! They were stating a lot of things about my films, their development, who did what, and why, and all the etcetera… But, they were totally wrong!

      I think most people do not realize this. They read what they read and instantly believe it. It’s in a magazine, it’s in a book, or even, it’s on a website – it must be true; right? No, many times it is not.

      And then, reviewers have gone on to misquote me and my associates; taking our words out of context, and then writing a whole piece about what we or I said in order to get their own point of view across and somehow gain validity for it by jumbling the words of their source. That is just hatchet journalism. And, I can say that with some authority as I have had well over a thousand articles published and none of my editors would ever have let me do that.

            I have long thought to write a piece titled, “Reviewing the Reviewers.” I am sure I will get around to that a some point.

      Perhaps the biggest fault of those who write on the subject of film is that they base what they write upon their own appraisal of a project. They are not so much presenting the reality of the film or of a filmmaker’s process but, instead, they write what they think about the project and then disguise it as a literally discussion.

            A few of the funny things that come to mind that authors and reviewers have gotten totally wrong about my films are: one author totally got the title of The Roller Blade Seven wrong in his book, “Blade of the Roller Seven.” One magazine article, said that the frog masks we used in Max Hell Frog Warrior were poor imitations of the ones uses in Hell Comes to Frogtown. In fact, they were the exact same masks! One author claimed that the Asia scenes in Undercover X were actually filmed in L.A.’s Chinatown. I guess he didn’t take the time to read the writing on the signs or view the license plates on the cars. That was Tokyo and Seoul! One of the funniest, at least to me, was one author in his book detailed that one of the lead characters in Killer: Dead or Alive was my wife. I’m sure the actress that played that part was surprised to find out that we were married.

      Those are just a few examples… It goes on all over the place.

      And, on the internet, oh my god! The totally wrong things that they write and say…

      Personally, I find all of this amusing. Some of my filmmaking friends are not so jovial as I am and get really upset.

      But, this is the reality of life. People say or write what they write from their own perspective. And now, in the digital age, Andy Warhol’s prediction has come to pass, “Everybody gets fifteen minutes of fame.” Some people just choose to gain theirs by reviewing and discussing the works of others. And, in many cases, they base what they say upon fiction, not fact.

Copyright © 2009 – All Rights Reserved

Film Reviews: Fact or Fiction @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Everybody Talks About the Films but Nobody Studies the Films By Scott Shaw

By Scott Shaw

            I forever find it curious that whenever I hear or read about what people are saying about the Zen Films of Scott Shaw they are virtually always completely wrong. Some have gone to extended lengths to describe and discuss the films I have made but they are completely missing the point. Some love them, some hate them, and, all that is fine with me — that is their opinion. But, no one ever studies the films.

            From a personal perspective, I can tell you that from the time I was young I would watch films very carefully. I would notice things about them that I would later realize were completely missed by others. There are mistakes in continuity, changes in lighting between the various takes, wardrobe differences, actors looking at the camera, and the list goes on. But, I never saw those as filmmaking flaws, I simply saw them as part and parcel of the filmmaking process. By observing a film in this manner, it truly makes the watching of that movie very intriguing to me.

            Again, from a personal perspective, I can categorically state that I have never attempted to make a traditional film. From my experience, a traditional film, that will play well to a traditional film going audience, costs a lot of money as you have to play to their preconceived notions about what a film is supposed to be. As I have never had a high budget in my filmmaking endeavors, I have never attempted to walk down that road — though some of the people I have worked with have attempted to guide me in a more traditional direction in my filmmaking practices. But, that is just not who I am. And, when you make the kind of films that I make, criticism can be expected as people project their own likes, expectations, and preconceived notions onto their viewing experience. I accept that.

            All this being stated, what I can say is that within the spontaneity, freedom, and magic of Zen Filmmaking every film that I have ever created has been done so with a very clear focus of message, (based upon budgetary constrains, of course). You may love what I do. You may hate what I do. You may issue praise or cast criticism. That’s all fine with me. But, what most people never seems to do is to actually study the films I make. They never look for the subtleties. They simply look to the obvious. And, by viewing my Zen Films in this manner, they are really missing the whole point.

            …I mean, come on! These are Zen Films, what do you expect to see when you sit down to watch them?

            As the filmmaker, I could point to each element of what one should be looking for in each scene of my films. But, what would be the fun of that? This is Zen Filmmaking and that is all part of the process; finding the hidden meaning, revealing to yourself what is hiding beneath the surface and what it means to you. It is essential to know, however, that every scene in every one of my Zen Films has a Some Thing that is there for a reason which guides the overall vision of the film and projects an ideology to the audience whether they consciously notice it or not. This is why they are each titled a, “Zen Film.”

            So, I want to call out all you, (oh so knowledgeable), film reviewers. I want to tell you, “You missed the point.” Simply by looking to the storyline, the sets, the acting, and the character development for guidance in your reviews you have completely overlooked what is actually going on.

            As a Film Watcher and as a Film Maker I can say that to truly understand any film you have to look beyond the obvious. This is especially the case with Zen Films. So, the next time you want to find something to cast your judgment upon at least have the foresight to see what you are missing by studying the subtitles instead of simply sitting there with your mind already made up and casting judgment.

Copyright © 2016 – All Rights Reserved

 

Everybody Talks About the Films but Nobody Studies the Films @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Max Hell Frog Warrior: The Facts and the Fiction

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

@ Scott Shaw.com

Scott Shaw Zen Filmmaking

Catching Up With Scott Shaw

Here is the translation for the January 2015 interview with Scott Shaw for a magazine published in Romania.

What are you currently working on?
Scott Shaw: Everything.

I know you are involved in a lot of things can you give me any specifics?
SS: For the last couple of years I’ve been focusing a lot of my time on creating music and capturing photographic images.

What kind of music and what kind of photographs?
SS: In terms of music I have been doing a lot of very ethereal guitar based stuff and working with vintage synthesizers. As far as photography, I’ve continued on my path of capturing, what I consider, interesting and abstract urban images.

Can we expect a new album in the near future?
SS: Several. 

What type of guitar equipment are you using to create music?
SS: Well, I have a lot of guitars so I work with several of them but recently I am predominately recording with a Fender Stratocaster with a scalloped fingerboard and using tons of pedals to create the textural sound I’m looking for.

Which pedals?
SS: Wow, there's a lot. Off the top of my head I’ve been using The Electro-Harmonix Ring Thing, Holy Grail, Electric Mistress, and Ravish Sitar, The Digitech The Weapon, The Whammy, and The Hardwire DL8, The Behringer Ultra Shifter/Harmonist, The Boss DD20 and The Boss Fender 68 Deluxe Reverb Amp Pedal, a Morley Classic Wah, a Fender Blender, The DanElectro Dan Echo and Fab Tone, a vintage Echoplex, a vintage Roland Space Echo, and a bunch boutique pedals I'm sure no one has ever heard of.

Amps?
SS: Mostly, with today’s technology, I record direct into the system but for recording live sound I use a Mesa Boogie and some modeling amps like the Line 6. I also have an early Behringer modeling amp that really produces a great live sound and, of course, I use my ’57 Fender Deluxe when I want to record that gritty old school sound.

In terms of photography what type of equipment do you use?
SS: Everything from my iPhone to a small Nikon I carry around with me all the time onto my high-end Nikon DSLRs.

Do you have a preference?
SS: They all do what they do with the advantages and disadvantages they each individually possess. So, they each serve their purpose. 

What about painting?
SS: Yeah, I’m still doing that.

Poetry?
SS: Of Course.

How about Zen Filmmaking. What have you been up to lately?
SS: I capture moving images all the time. Whenever I see something interesting I film it. When I get enough footage, I put it together.

What type of equipment are you using?
SS: Well, just like with still photography I use everything from my iPhone, my small carry-around Nikon, onto my Nikon DSLRs. In terms of actual video cameras I am currently using the new Sony HDR CX900. It’s portable, full broadcast quality, and really captures a great image.

Are you working on any specific films we can look forward to?
SS: Like I said, I’m always filming but I have really moved away from making, for lack of a better term, traditional story-driven films. 

Why?
SS: I just have not felt like dealing with the desires, expectations, and egos of the actors and the crew and being the only one who is putting the whole production together and dealing with the all and the everything.

What does that mean for your filmmaking style?
SS: Like I’ve talked about for a few years now, I’ve been focused on making non-narrative Zen Films. Meaning, I just get an inspiration and tie a bunch of relevant moving images together, forming them into a piece of cohesive cinema.

It that a cinematic revolution?
SS: Revolution is a big word. I’m just doing what I do. 

How about the martial arts?
SS: As always, the martial arts are one of the key elements of my life. I, of course, workout all the time and I train very-advanced practitioners.

For 2015 what do you have in mind?
SS: Live and create.

Copyright © 2015 — All Rights Reserved

 

 Catching Up with Scott Shaw @ Scott Shaw.com

Scott Shaw Zen Filmmaking 

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