My advice to people has always been: copy old shit. For instance, the style of Every Frame a Painting is NOT original at all. I am blatantly ripping off two sources: the editing style of F for Fake, and the critical work of David Bordwell/Kristin Thompson, who wrote the introductory text on filmmaking called Film Art. I’ve run into quite a few video essays that are trying to be “like Every Frame a Painting” and I always tell people, please don’t do that because I’m ripping of someone else. You should go to the source. When any art form or medium becomes primarily about people imitating the dominant form, we get stifling art.
If you look at all of the great filmmakers, they’re all ripping someone off but it was someone 50 years ago. It rejuvenated the field to be reminded of the history of our medium. And I sincerely wish more video essayists would rip off the other great film essayists: Chris Marker, Godard, Agnès Varda, Thom Andersen. Or even rip off non-video essayists. I would kill to see someone make video essays the way Pauline Kael wrote criticism. That would be my jam!
There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.
There’s a famous quote by Ira Glass that’s had a healthy life on the inspiration-for-creative-people circuit on the internet:
Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work.
I cut it off at the end but you get the gist. It’s a good observation and resonated with me enough that I printed it out and put it on my wall next to my desk a few years ago.
Then I had a thought the other day. I’ve found a weird sense of “happiness” this summer. Quotes because I don’t really trust it, as it’s foreign to me to feel genuinely happy for no reason for what feels like weeks now.
Naturally, I asked “what the fuck is going on?”
For Glass, the gap is primarily between how good your work (1) is now and how good the work of your heroes is. The gap between your work and the work that meets your standards of taste. Let’s call it the taste gap.
But I think there’s another level to this that Glass doesn’t touch on, an existential gap if you will. It’s not just that you are disappointed that you haven’t gotten good enough to make something you’re proud of — it’s that you’re not yet the person that you want to be.
You set out as a writer. You write a screenplay or a novel. The first one sucks. But you are writing and so you are a writer (identity here as defined by your actions, not by telling everyone that you are a writer or whatever).
But while you are a writer, we can add a qualifier: you’re a mediocre writer. Or a bad writer. A novice writer. A shitty writer. Whatever. I’m not saying this to be mean; it’s important to be honest with ourselves so we can get better.
And so the gap is more than a gap between the current quality of your work and the desired quality. It’s a gap in your identity, a gap between who you are today and how you want to see yourself (and how you want other people to see you). The gap creates a tension in you, or maybe a dissonance.
The feeling is experienced as an oft-present internal pressure or anxiety. You might have to walk around through life for years carrying this tension in you. That’s quite the mental burden and hence you seek out quotes like Glass’s to soothe the pain or you risk paralysis or getting torn up inside until you can’t go on. It’s probably what makes a lot of people give up, even in the face of countless inspirational “don’t give up!!” narratives.(2)
The existential terror of this is heightened because there’s no assurance that you will actually cross the gap and become a good writer or artist or actor or whatever. Odds are that you won’t.(3)
So what happened to me? I wrote and directed a film that I’m proud of. I think it’s good. People whose opinions I respect think it’s good. 99% of people might think it’s not good, but I’m proud of it and my friends like it. For me, that’s enough to cross the gap — it feels like a win and so it is a win. Not that it will find commercial success or even critical success, but it’s a win in that it’s helped me become whole by crossing the gap. I made good on my identity.
I called myself a filmmaker and now that I’ve made something that I’m proud of, the dissonance between what I call myself and how I feel about myself is resolved. Thus, happiness.
Why focus on the identity aspect?
I was thinking about another pursuit in my life where I am woefully worse than I would like to be: tennis.
I’m not comparing myself to Roger Federer, I’m comparing myself to the people I play with that are really good but nowhere close to being professionals. The gap is achievable in my lifetime and maybe in 3-5 years with regular lessons and practice. But I experience zero anxiety about this gap because it’s not something I claim as part of my identity. I think of myself as someone who happens to play tennis, not as a tennis player. I don’t care how the world views my tennis playing so I don’t feel a gap.
What’s the difference?
I mean, if we define identity by what we do, then tennis should define me as much as filmmaking. For me, it’s about a deeper pull I feel towards filmmaking or artistic expression. I don’t really understand the difference except that maybe I chose artistic expression and not tennis to be a part of my identity.
There’s some logical inconsistency there and I’m not really sure how to think about it yet.
Work here as shorthand for art, craft, tennis, whatever you’re trying to get better at ↩
Those narratives suffer from survivor bias. Nobody ever tells you about how they never gave up their dream of being an actor and then found themselves at 50, bitter and broke. Not because it doesn’t happen, but because those people don’t get invited to write books and speak, unless of course they turned that failure into some kind of other success and the failure serves the never-give-up narrative. ↩
I’ve failed at a few things this way and the psychic aftermath is pretty unpleasant. But don’t listen to people that say if you never give up, you’ll succeed eventually. They’re lying because they don’t know for certain anymore than you can know for certain. That’s kind of the point thought–that it’s something brave and risky because it can fail. Learning when to quit and try something else is an important skill and helps you get back up for another fight when your project fails. ↩
I was going through my notes as I work on editing The Deadline and I found this quote:
In music, everything from a sonata to a symphony uses changes in tempo as a basic part of its form. Typically, a four-movement sonata will change not only its musical themes in each movement, but also its temo in each movement and sometimes even within each movement.
Similarly, if a picture is edited in the same tempo for its entire length, it will feel much longer. It doesn’t matter if five cuts per minute or five cuts every ten minutes are being used. If the same pace is maintained throughout, it will start to feel slower and slower. In other words, it’s the change in tempo that we feel, not the tempo itself.
Quoted from from Sidney Lumet’s Making Movies.
I read this and thought about how I cut Words Fail Me and realized that I used jump cuts (LOTS OF JUMP CUTS) to speed things up and now I realize that by making (most of) the episodes move so quickly without changes in tempo, I was actually making it feel slower.
With The Deadline, I’ve been using tempo changes more effectively (I think) and taking Lumet’s advice in conjunction with Walter Murch’s advice to cut on changes in emotion/thought (and his Rule of Six), I’ve at least got a better approach to how I edit, as opposed to just winging it.
I found this line in Michel Houllebecq’s Submission:
I started to wonder what I was doing there. This very basic question can occur to anyone, anywhere, at any moment in his life, but there’s no denying that the solitary traveler is especially vulnerable.
It reminded me of:
At any street corner the feeling of absurdity can strike any man in the face.
I finished Submission last night and it’s one of the best contemporary novels I’ve read. It’s not at all what I expected it to be and apart from being superbly written, it’s left me with a lot of questions.
I still love and find great joy in filmmaking. The part of the job that I love the most is being on set. Thanks to the 50 unlucky people that work with me all the time, they make my joy. When I start shooting I am surrounded by these technicians and actors who do nothing but to make me happy and to share my dream. What can I want more?
Luckily the cinema of filmmaking did not stop with La Nouvelle Vague. Of course there are many young directors that are avant-garde nowadays. I think all over the world there are two kinds of filmmakers: those who have the inner need to make films and those who just want to be in the film industry. The second category doesn’t interest me at all, while the first one is always very interesting. Having said that, I see a lot of movies and two or three per year are very good, but the rest you can forget.
The question “What is this movie about?” will be asked over and over again throughout the book. For now, suffice it to say that the theme (the what of the movie) is going to determine the style (the how of the movie)… I work from the inside out. What the movie is about will determine how it will be cast, how it will look, how it will be edited, how it will be musically scored, how it will be mixed, how the titles will look, and, with a good studio, how it will be released.