Saturday, 10 July 2010

The Power Is In YOU, Not In A Suit On A Committee.

Artists struggle. This is how it is, and it's assumed, how it always will be.

I know some incredibly talented writers, designers, composers, editors, actors, etc. They're immensely creative and their work is full of richness, but their wallets aren't. The composers I know are scrambling through job adverts for opportunities that might, in some way, somehow, suit their skills and be worthy of their talents. But when they do get paid, it's usually for running errands or handing out leaflets. Of course, this doesn't just happen to people in the arts. Right now, jobs are hard to come by no matter what your skills, talents, training, or lack thereof. They say the next crop of graduates in the UK will have a 20% unemployment rate. Focusing on Media - it turns out that on the dawning of this new era of technological advancement, of digital media and the democratisation of media as it were - everyone was convinced to go to University.

Thousands of media graduates pile out of education with degrees in their hands, only to find that the only jobs going are two production assistant vacancies on 'Eastenders' and one unpaid internship making coffee for Richard Curtis. Everyone else rams their heads against the walls as they apply on Craigslist for unpaid work experience for unknown post-production houses somewhere maybe near Surrey.


"If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue, despite all the expertise that's been on parade for the past four days, what the world will look like in five years' time. And yet we're meant to be educating them for it. So the unpredictability, I think, is extraordinary." -
Ted Robinson, from his 'Schools Kill Creativity' speech at TED.com

How can so much talent be left in such a bleak, powerless position?

We have writers at the mercy of agents and producers who have no interest in who they are, we have genius DOP's whose email applications to shoot short films get missed in the sea of 763 applications. We have 20,000 people calling themselves actors, 15,000 of whom are convinced they're the next big thing and 5,000 of whom are one audition away from being evicted for not paying their rent on time.

I was mulling this over when scanning across various film websites, and job websites, whilst also alt-tabbing to some depressing news articles about the economy, budget cuts, and all the latest downer news in the film industry.

Despite the bleakness, the lack of opportunities, and the fact that everyone is waiting for a magic wand to be waved without knowing exactly who the person is that's meant to do the waving - one thing is true. There is still an abundance of creativity all around us.

History has been rewritten over and over again by small groups of people who had the sheer perseverance and audacity to try something. To come together and to use their skill, talent, hard-work and entrepreneurial spirit to begin something. I don't know what I'm really saying (you've probably gathered that by now) - but what I can see is that there is an endless supply of talent out there. And it's becoming increasingly obvious to me that most of the time this talent is not only applying for jobs that are hard to get, but looking for opportunities that don't exist in the real world. If you're a screenwriter looking for a chance to write a story about a small girl who suffers disability discrimination, there's probably not a producer out there for it. If you're an actress looking for a role that doesn't stereotype you in that role you always play, it probably doesn't exist.

We keep digging around and looking for opportunities in places that either don't care, or don't care anymore. We go looking for chances to prove our production-design skills, or our hair and make-up skills, or our poetry-writing skills, and end up applying for a job collecting money for charities we don't care about on crowded city streets we don't want to be standing on.

We're dying one day at a time when we flick around on job sites and stare hopelessly at recruitment companies hoping for the perfect opportunities to present themselves. Our dreams were built on the fantasies, illusions and infinite possibilities our childhood's promised, and from watching movies, and from believing. For them to be real, we need to step out of societal norms to achieve them. We need to step outside of the dead-end jobs and front-end criticisms; we need to create our own opportunities. We need to find the power in our ideas, ideals and our incredible ability for resilience and perseverance. And we need to start doing it now.

There is great power in making a decision. There is great power in finding like-minded souls and there is great power in deciding to be the one who has the power. Rather than wait for the perfect acting role, write the perfect acting role. Or pay a friend to write the perfect acting role. Or pick up a camera and invent the perfect acting role. Or start a Facebook campaign that tells everyone you're the perfect actor. These are terrible ideas, but one idea I do believe in is that if you think outside the box, and you believe your instincts, you can come up with something that will kick-start your career, your life, your big dreams.

We need to be inspired, we need to be fulfilled, we need to make a living, and we need to do it now. If we keep doing it by applying for unappealing jobs and begging for opportunities from people that don't care about us, we'll never get anywhere. We can go a different way. We can see there are thousands and thousands of creative yet disillusioned souls around us.

Rather than moan about the studio system, or bitch about corporate greed, or cry about big shot people in suits who hide behind giant walls; see the power in turning to the people who are sitting on the same side of the fence as you. History is made up of people who were oppressed and discouraged by systems and theories and policies and recessions and dictatorships far worse than what any of us are facing now. Let's quit emailing people who aren't listening, let's face each other, and let's begin building a new world; one where creativity takes centre stage and inspires people.

"Never doubt that a small, group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has." -Margaret Mead

You; the person who blogs passionately about movies every day, you; the person who spends every waking hour trying to get funding for your screenplay about disability, you; the person who has had 17 auditions this week, you; the person who stayed up till 5am sketching out set-design ideas--- you all inspire me so so so so much. You are infinitely more important to me, to society and to the world than anyone has been giving you credit for. The power is in your imagination and ideas and actions, not in some guy in a suit who decides whether to pick you, cast you, fund you, dump you or hire you. The power is in you.

Let's find new ways to make our projects. Let's believe in ourselves and believe in those who are talented and caring. Let's stop spending time hoping for opportunities from people who don't understand us. Let's find new ways.

Care to share?

Wednesday, 7 July 2010

Today Is A New Day!

You woke up? You're breathing? Good.

You could email someone whose work you admire and try to arrange a meeting, you could throw down ten pages of a new comedy idea and ignore the notion it might be terrible, you could write and print sixty eight letters to agents DEMANDING they look at your talent, you could stay up all night watching your top three movies and totally immerse yourself in their splendor once again, you could call in sick and go sprinting through the streets feeling the freedom that surrounds you, you could make a list of 50 inspirational youtube videos, you could email your director friend and tell him that holy fuckturtles you love the fucking genius behind his last movie, you can write a personal letter to your best friend thanking them for supporting your career, you can put three hours aside to read every single word of a film magazine, you can spend all day watching old old old movies, you can phone Bill and Tommy and Maria and say "let's film some improv comedy, it must include jokes about carpets!", you can have a cup of tea, you can fight fight fight fight fight through all the self-doubt that's been pissing you off, you can kill the self-doubt within a friend in 4 seconds by saying "what you do inspires me so much," you can go out into the streets and sing, you can call that intimidating dude up and arrange the meeting you've been putting off, you can run at 50mph down the street with a live version of 'Born To Run' in your ears, you can come up with a music video concept for your friend's band's new song, you can have a day away from Facebook, you can have a day entirely on Facebook where you email fifty people asking what projects they're working on and why they're important to them, you can sit and breath, you can go out in the sun, you can go out in the rain, you can tell someone you kinda like them and then write about how great it feels, you can tell someone you kinda like them and then write about how you're going to kill yourself, you can have a Skype conversation with Antonio in New York and share ideas for a short horror film, you can phone up equipment companies and talk them into lending you equipment for free, you can sneak out of work and into the book shop and read twenty pages of something inspirational, you can watch a Morgan Freeman scene on repeat at least thirty times until you figure out exactly how he did it so naturally.Today is going to do more for your career than all the days of the last six months combined. Tell me how it goes! Do something amazing!

Care to share?

Tuesday, 6 July 2010

Allies.

The hilarious guy in New York. The girl with the voice in Pennsylvania. The gay guy in Sydney. The actress in Melbourne. The songwriter in Ohio. The friend down the road. The girl in New Zealand who should be in America. That girl I don't talk to anymore. The woman who lets me eat all her biscuits. Some random guy on YouTube. My family.

They believe in me.

It helps.

Doing this career, you need allies. Not everyone will believe in you or support what you're doing.

But they always will, so it's okay.

Care to share?

Upcoming Classics at the Prince Charles Cinema, London.

The other day I saw SOME LIKE IT HOT at the Prince Charles Cinema. They're showing it again next week. Not only that - but over the coming weeks they have JAWS, JURASSIC PARK, KISS ME DEADLY, CINEMA PARADISO, THE BIG LEBOWSKI, THE GODFATHER, and many others.

If you like good movies and you like seeing them in the cinema and you like being in London; then go book some tickets on their site - they are single handedly keeping me interested in cinema right now. Because Twilight and the rise of 3D certainly aren't.

EXCITING!

Care to share?

Sunday, 4 July 2010

Some Like It Hot - Seeing the Billy Wilder classic on the big screen.

'Some Like It Hot' is a real piece of magic. I've always loved it, as do most people. Hence why it's always at or near the top of 'Best Comedy Ever' lists.

Seeing it on the big screen for the first time was an incredible experience for me. It really showcases how masterful Billy Wilder was. There is something amazing about how you feel looked after during a Billy Wilder picture; like he really knew how to make you feel at home, make you feel loved. You can't help but just sink into his world.

I finally GOT Marylin Monroe tonight. Of course I've always found her very beautiful and pleasant to watch in films -- but now I realize, it's a particular kind of beauty that belongs in black and white on a giant screen, not at home on DVD. She radiates in a way very few ever have or will. I'm in love. I wonder if she was attracted to bloggers.

It's always great to see Billy Wilder films in the cinema because you lose so much when you sit at home watching it on your own. It's amazing to see different audience members laugh at different parts. There are so many levels to the humor; hence there are different types of laughs and types of people laughing. Somehow, Wilder takes care of them all. It's also great to see his amazing use of timing. A famous example is the scene in the bedroom with the maracas. After each funny line, there's a pause in dialogue whilst Lemmon shakes the maracas and dances, allowing the audience a chance to laugh and then recover, ready for the next line. The timing makes the jokes all the more powerful.

I felt at home tonight. Sitting in a cinema, hearing unforced, genuinely heart-warming laughter. And the laughs were big, giant laughs. Cinema was like this once, it still can be.

There is much more to say. But it's 2am, my iPhone battery is struggling and I must get some sleep. Nobody's perfect.

Care to share?

Saturday, 3 July 2010

Advice, Instinct & Penguins - Reconnecting with who I am.

“When I get logical, and I don't trust my instincts - that's when I get in trouble.”
-Angelina Jolie

Advice is a dangerous thing. I say this, having spent most of the last year writing this blog, which; by and large, is a place where I give advice. That's kind of the reason I stopped. Advice can be great, and motivational - but also, it can be a huge problem. When you give advice, you are stating your belief systems, you are claiming to know how the world works.

When a successful writer says "you need to be disciplined," a less successful writer is likely to listen. That less successful writer might thrive on chaos and spontaneity. They'll spend the next five years battling that, because they look up to the successful writer. Likewise, a young film director might be about to make a feature film in his house with his friends which could be the next 'Paranormal Activity', but then he reads an article on the internet by a successful producer who says "you're wasting your time if you make a film for less than a million dollars, and nobody wants to see another horror film set in a house." So it doesn't get made.

I really liked Dawson's Creek. Loved it. Still watch it to this day. But there's a big part of me that says "dude, you're lame, stop watching that cheesy shit!" I get annoyed at myself for watching it. Why? The stigma of watching it is based on the notion that it's too cheesy, too soap operatic, too predictable, too touchy feely, not edgy enough. So then I spend months annoyed at myself for watching cheesy bullshit that nobody else relates to; and I keep trying to watch the things people recommend to me, and in the process, get further and further away from the show that resonated with me. Why do I do this? Because of values held by other people.

When I look at me as a writer, and a director; do I want to be influenced by the things that truly resonate with me or do I want to be influenced by the things I've learned to love because filmmaker's, critics and society think they are the right choices? When I look at my biggest influences; Charlie Chaplin, Billy Wilder, Bruce Springsteen and Woody Allen - I see people who were ruthless at following their own instincts and beliefs.

I can do one of two things. I can follow my heart and follow my deeply held interests and passions (after-all, those were the things that got me interested in this line of work), or I can learn what is marketable and what isn't, I can write based on a 22 step procedure I was told about and I can listen to the research that says nobody will want to see my film about a bunch of penguins who take over the Vatican.

In case there's any mystery here, I am going for the first option. I have spent recent times completely and utterly reconnecting with all the things that excite and inspire me. Be they Dawson's Creek, Nora Ephron flicks or Tom Hanks movies from the eighties. What is important to me is to do what feels right, and feels important, to me. Cowering in the corner with my passion for Bruce Springsteen music and my love for films with Jack Lemmon standing around awkwardly and Jimmy Stewart winning a girl over isn't good enough. Those passions shouldn't be hidden or oppressed. Ever.

Advice, if it is useful to you, is great. But I think advice should make you feel warm and supported. If someone says "You will never be cast in a leading role" or "You're more of a sitcom writer than a feature film writer," you should only accept the advice if you believe it, if it speaks to the very essence of who you are and what you believe. And, of course; the same goes for everything I'm saying here. If believing in what I'm saying means you're going to feel conflicted or oppressed or polarized in any way, then my advice is not for you.

The only way I am ever going to be happy is to be creative on my terms. To write what I want to write, and then do everything in my power to make it happen. The more I celebrate my uniqueness, my passion, my influences, and my beliefs, the better I am going to do and the more likely audiences will respond to it. If they can re-boot Spiderman, I can reboot myself; and it's starting today.

What this means for this blog, I don't know. I have a big edge against me spouting off advice on how to write or direct or even how to make a good tea, because it's so subjective. I would hate to harm anyone's creativity or beliefs. So right now, I'm searching for some new paradigm, some new way of being useful and relevant. I am doing this whilst gearing up to direct a feature film later this year; so I am not sure how often I'll be blogging in the near future.

Did that make any sense?

Care to share?

Thursday, 1 July 2010

RIP Elliott Kastner - You Will Be Missed.

Elliott Kastner was awesome. I got to meet him once; and it was only ten months ago. I had a meeting set up with a producer who had discovered my work, enjoyed it, and invited me to his office for a chat. That same day, he was meeting with Elliott. And luckily for me, he introduced us.

I was prepared to do my quiet-shy-anti-networking-thing of saying "Hi" awkwardly, before shuffling off - but Mark, the producer I was meeting with - went on to tell Elliott all about my work and what I'd been up to. "Well sit down," said Kastner enthusiastically. And then he dropped the question; "what are you working on?". He said it in a professional way; which was kind and welcoming but also, kind of fierce and challenging. I sat there, frozen. Fuck, I'm so crap at this stuff. I eventually rambled a bit about what I do. The voice in my head was reminding me of his incredible experience and filmography, making me feel more and more inferior by the second.

But the great thing about Kastner was how enthusiastic he was. He managed to veer from me, to Mark, to his ideas, to tales from his producing career; and did it in a way that was extremely natural - and extremely riveting. I briefly mentioned a film idea I'd been working on. He listened, he said "that's interesting," (it wasn't, I will ill-prepared), and then he said "You know, I've always wanted to do a film, where Tom Hanks and Johnny Depp meet at a Dental convention in Las Vegas. That would be interesting." He went on to share some humorous thoughts and ideas. I liked them all. "If you write something like that, I could do something with it," he said.

Before I had a chance to process the thought; he and Mark were bantering back and forth, and I was completely in awe of Kastner. Film Producers come in all shapes and sizes, but Elliott really looked and sounded like a film producer. He was approaching 80 at the time, but was still incredibly energetic and enthused.

I wish I could remember the exact content of the things we talked about, but I don't. I do remember him sharing a very funny and fascinating story about Peter Sellers. I would write out the story, but it wouldn't do it justice. It wouldn't have the Kastner touch. I don't know what the Kastner touch is, after all, I only met the man once. But seeing what people have been writing about him today, it seems that his touch was something that inspired a lot of people. He will be missed.

Elliott Kastner died on June 30th, aged 80, after a long fight with cancer. He produced "Where Eagles Dare," "Angel Heart," "The Big Sleep," and countless others. Stealing shamelessly from Wikipedia, here's some names he worked with: Paul Newman; Frank Sinatra; Elizabeth Taylor; Warren Beatty; Clint Eastwood; James Mason; Michael Caine; Peter Sellers; Robert Shaw; Pierce Brosnan; Jack Nicholson; Robert de Niro; Mickey Rourke and Jeff Bridges.

Elliott Kastner on Wikipedia
Elliott Kastner on IMDB


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