Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Tuesday, June 28, 2016
Do Not Manufacture Story
Typically, I shy away from lists or steps that lay out the perfect way to make a movie, tell a story, write a paper, etc. Those lists have merit, but I'm the type of person who will adhere to the list and not try to find my own way. I need to find my own way when telling a story. It's more rewarding for me that way. Then I read How to Make the Perfect Sundance Film and I immediately disagreed with its premise.
To be fair, I do agree with the ideas that the author, Ted Hope, is suggesting. As story points, yes, they work. And if they're executed well, they will bring in that audience and create a connection between the story and the viewer. So yes. If you follow those steps, and do the well, you will manufacture a good movie.
And that's my problem.
These are steps to manufacture a movie designed for the purpose to get yourself into a film festival. Is that why we make movies? To get into Sundance? We are in the business of telling stories. Yes, we can absolutely follow this instruction booklet and put together the pieces of a script together. An erector set screenplay. We can construct our story, but it's lacking heart. No matter the genre, our goal is tell our story. To share with the world a piece of our inner thoughts and feelings. This is what all filmmakers do. (Of course, on TV right now is Beverly Hills Ninja and I have no idea what people were thinking when they made that one. Moving on...)
Once we put the destination of our script ahead of the journey and its creation, we are failing our story. We are trading in our sincerity for a dream of rubbing elbows with fellow filmmakers and influential producers. And we will always lose with that trade.
Of course, I'd love to get into festivals! Of course, I'd love to see my work alongside other professionals! But that will NEVER happen if I'm more concerned with how to get my story there rather than how I'm going to tell my story.
For my last production, my vision was more along the lines of a slight homage to the comedies of Billy Wilder or Preston Sturges. Watch The Front Page. That's the one I keep thinking about. I didn't write the short because I thought the Winnipeg Comedy Festival was looking for dialogue-heavy comedies for their 2015 Winter Fest. I did it because it was a story I wanted to tell. I wrote a comedy with the influences of Wilder and Sturges in mind. If the short gained attention, it would be for the work and effort put in by the cast and crew and not because I followed the ten step program designed to gain me an elusive entry into a festival.
Tell your story. Make your movie. Focus on that. True success is determined by your effectiveness in storytelling. Not how many festivals you get into.
One small note: The author of the article, Ted Hope, is someone I follow. He's got great insight into storytelling, filmmaking, producing, marketing. All of it. Everything indie, he knows. If you're one who is interested in that field, devour his writings and teachings. He is very wise and has been there and back again.
Monday, June 20, 2016
You're Never Alone
One of the misconceptions of independent cinema is the idea that independent means you do it on your own. It does feel like that at times, but you're never really alone in your endeavors.
As a writer, I am alone in front of that computer screen. I'm there with my notes, my thoughts and that keyboard trying to fashion a story together. I may ask for feedback from trusted sources, but no one is writing the story for me.
But after that screenplay is written, I cannot continue without the help. When I step back and look at the actual act of creating a short film, I'm always amazed at the willingness of so many people to help create my vision. The passion of others to make something I've written into a reality is as surprising as it is powerful.
I should've recognized this earlier in my indie career.
In mid-2002, myself and a few of my friends had already formed a small production company. The idea, not a new on, was to work on short films and support each other through the process. We did a variety of commercials for the production company, which all participated in, but the majority of the short films were written and directed by me and I was done with short films. I wanted to do a feature.
We had a meeting. I stated my intention. And I added an escape hatch for my friends, because I didn't want to impose my desire to shoot a feature. I offered the chance for my friends to not be involved in the feature. I knew it would cost money and time, and I didn't want my friends to feel like I was demanded that from them.
I wanted all of us to be independent in our work. I didn't want the production company to be just about me. To my own career detriment, I cared too much of the success of my friends. I wanted them to be as passionate as I was. Looking back, knowing what I know now, of courser they would say yes.
We were in it together. We did shot that feature in the summer of 2003. It was a great experience. We had some disagreements and it was a challenge to finish, but finish we did. I couldn't have done it without them.
I'm never alone when I make a movie.
As a writer, I am alone in front of that computer screen. I'm there with my notes, my thoughts and that keyboard trying to fashion a story together. I may ask for feedback from trusted sources, but no one is writing the story for me.
But after that screenplay is written, I cannot continue without the help. When I step back and look at the actual act of creating a short film, I'm always amazed at the willingness of so many people to help create my vision. The passion of others to make something I've written into a reality is as surprising as it is powerful.
I should've recognized this earlier in my indie career.
In mid-2002, myself and a few of my friends had already formed a small production company. The idea, not a new on, was to work on short films and support each other through the process. We did a variety of commercials for the production company, which all participated in, but the majority of the short films were written and directed by me and I was done with short films. I wanted to do a feature.
We had a meeting. I stated my intention. And I added an escape hatch for my friends, because I didn't want to impose my desire to shoot a feature. I offered the chance for my friends to not be involved in the feature. I knew it would cost money and time, and I didn't want my friends to feel like I was demanded that from them.
I wanted all of us to be independent in our work. I didn't want the production company to be just about me. To my own career detriment, I cared too much of the success of my friends. I wanted them to be as passionate as I was. Looking back, knowing what I know now, of courser they would say yes.
We were in it together. We did shot that feature in the summer of 2003. It was a great experience. We had some disagreements and it was a challenge to finish, but finish we did. I couldn't have done it without them.
I'm never alone when I make a movie.
Profile Member of Audience
Who I Think It Is
Jimmy Random: Filmmaker, Age 24Jimmy has so much access to an on-line audience, but no guidance. He seeks a mentor. He needs a sounding board in the form of someone who has experienced the ups and down of indie filmmaking. Jimmy is full of ideas, but no plan to execute them.
Who It Probably Is
Alex Faison: Filmmaker, Age 24Alex is a recent college graduate with a degree in a communications. He works a part-time job, but has dreams and aspirations of becoming an actor or director or writer. Alex has great ideas, but is unsure of how to become a working filmmaker.
Sunday, June 12, 2016
Meta Tag Fun
Alex Faison - The Homepage of Alex Faison
www.alexfaison.com
Alex Faison is the writer of the Kirk Stewart Mystery Series. He's written several screenplays, such as Murder on the Big Chief, The Calutron Girls and Doll.
About the Author - Career - Bibliography - Future Works
Alex Faison (@Faison506) | Twitter
https://twitter.com/AlexFaison
Saturday, June 11, 2016
Mod 3 Lecture Thoughts
When class began, I chose the pseudonym of Faison for no special reason. I didn't think of using the chance to create a pseudonym as a way to further my voice and allow myself to be honest and truthful in my writing. The reason being is that I've always strived to be honest and open. Yeah, it sounds great and I'm not saying I'm successful at it all the time, but I'm not afraid to be honest. Sometimes, that honesty takes the form of sarcasm and satire, and that does tend to alienate people.
That being said, I do have many different versions of myself in this life. Even trying to be honest and open doesn't stop one from creating personas. I wouldn't say I'd go to extremes that "Relationship George was killing Friend George."
But when my worlds collide. It can be awkward.
Let's get this out of the way first. I dislike the public. I wouldn't say hate. That's too strong. But I dislike. I've worked with the public for quite some time and they don't see a person on the other side of the counter. They see an ends to a mean. Talk to me all you want about customer service and the customer is always right. (That's a load of bullshit) That's all fine and dandy like a handful of crap-tasting candy, but until you're in the shit, working with the public week after week, day after day, you have now idea what the public can be like.
The public is a collective. The Borg of Banality. They are faceless. Not everyone is part of the public, but the public is everywhere. When I meet someone from the public and a relationship is formed, albeit a generic acquaintance relationship, they no longer are part of the public collective. There are countless people who are wonderful and kind. They are funny to talk with, but when something happens that is contrary to what they want to happen, they will turn on you. I've seen it. I've been involved with it. It's not an exaggeration.
Why bring this up? Because Work Faison doesn't dislike the public. He's all about helping them out. Work Faison is just one of my other personas, avatars, which is probably the most extreme avatar I have seeing that it flies in the face of my dislike and discomfort with the public.
When my family, an aunt or an uncle, come to my place of business. Work Faison battles with Family Faison. You see, Family Faison, is quiet. He comes to the family events and talks to a few people, but generally keeps his conversation light and easy. Family Faison doesn't want to get dragged into political discussions. Family Faison doesn't want to talk about every facet of his life with family members. Family Faison doesn't want to get into a war of words with his sister because she's extremely high-maintenance and always right. Imagine that?
But when Family Faison and Work Faison collide. It's awkward. The words I speak are measured. A sweat usually begins at the top of my head. This sounds like I'm a complete mess, but I'm not and yet, aren't we all a mess when two worlds collide on us? It's about control.
I think one of the biggest reasons we create these avatars is control. We want to control the narrative of our life. I want to have what I want and that's it. How do I get that? I want me work night to be nice and easy, so I need to create an avatar that promotes that. Even if I have my issues with the public, I cannot allow that to take over. If I disagree with my uncle's politics, yelling about it over the grill does nothing but get my voice hoarse. Family Faison is born.
I have others. Smaller and not as important, but they all serve the purpose to control the narrative.
Back to Faison. Alex Faison was the character of the very first story I ever wrote. It was for my girlfriend, at the time. She had a class assignment and I offered. I chose the name, not because of that, but because I always choose that name when I need to make a fake name for something. Realizing why I chose it and it's significance to my life only recently made itself clear to me. I'm a writer. It's not my avatar. It's not my persona. It's simply what I want to be.
That being said, I do have many different versions of myself in this life. Even trying to be honest and open doesn't stop one from creating personas. I wouldn't say I'd go to extremes that "Relationship George was killing Friend George."
Jerry: I like that George.
George: Me too!
But when my worlds collide. It can be awkward.
Let's get this out of the way first. I dislike the public. I wouldn't say hate. That's too strong. But I dislike. I've worked with the public for quite some time and they don't see a person on the other side of the counter. They see an ends to a mean. Talk to me all you want about customer service and the customer is always right. (That's a load of bullshit) That's all fine and dandy like a handful of crap-tasting candy, but until you're in the shit, working with the public week after week, day after day, you have now idea what the public can be like.
The public is a collective. The Borg of Banality. They are faceless. Not everyone is part of the public, but the public is everywhere. When I meet someone from the public and a relationship is formed, albeit a generic acquaintance relationship, they no longer are part of the public collective. There are countless people who are wonderful and kind. They are funny to talk with, but when something happens that is contrary to what they want to happen, they will turn on you. I've seen it. I've been involved with it. It's not an exaggeration.
Why bring this up? Because Work Faison doesn't dislike the public. He's all about helping them out. Work Faison is just one of my other personas, avatars, which is probably the most extreme avatar I have seeing that it flies in the face of my dislike and discomfort with the public.
When my family, an aunt or an uncle, come to my place of business. Work Faison battles with Family Faison. You see, Family Faison, is quiet. He comes to the family events and talks to a few people, but generally keeps his conversation light and easy. Family Faison doesn't want to get dragged into political discussions. Family Faison doesn't want to talk about every facet of his life with family members. Family Faison doesn't want to get into a war of words with his sister because she's extremely high-maintenance and always right. Imagine that?
But when Family Faison and Work Faison collide. It's awkward. The words I speak are measured. A sweat usually begins at the top of my head. This sounds like I'm a complete mess, but I'm not and yet, aren't we all a mess when two worlds collide on us? It's about control.
I think one of the biggest reasons we create these avatars is control. We want to control the narrative of our life. I want to have what I want and that's it. How do I get that? I want me work night to be nice and easy, so I need to create an avatar that promotes that. Even if I have my issues with the public, I cannot allow that to take over. If I disagree with my uncle's politics, yelling about it over the grill does nothing but get my voice hoarse. Family Faison is born.
I have others. Smaller and not as important, but they all serve the purpose to control the narrative.
Back to Faison. Alex Faison was the character of the very first story I ever wrote. It was for my girlfriend, at the time. She had a class assignment and I offered. I chose the name, not because of that, but because I always choose that name when I need to make a fake name for something. Realizing why I chose it and it's significance to my life only recently made itself clear to me. I'm a writer. It's not my avatar. It's not my persona. It's simply what I want to be.
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