“Cinema has always been marriage of technology and human talent.”
Francis Ford Coppola (older filmmaker based in Napa Valley)
“I think every filmmaker needs to make 20 awful films before they can make one good one. And I made my share of totally awful films with my friends.”
Bradley Jackson (younger filmmaker based in Austin)
Interview with Ron Dawson
Screenwriter John August has a post on his blog titled Writing for Hollywood without living there where he has a first person account written by 26-year-old writer/director Bradley Jackson from Austin, Texas. Jackson recently earned more than $100,000 by winning The Doorpost Film Project (best film, best director, best script) and optioning a screenplay.
What separates Jackson from the traditional way of thinking about a career in production is he has no intentions of moving to Los Angeles. His plan right now is to stay in Austin where he has friends and family and to commute to L.A. as needed.
August’s readers made various comments on whether this is a wise thing to do and speculated if Jackson can really pull off a career writing and making films in Austin. Because my focus is encouraging writers and filmmakers who live in unusual places (and that includes some places even within the 30 mile zone in LA) three thoughts quickly came to mind;
1) It’s not like Bradley Jackson lives in a small town in Iowa. He lives in Austin, Texas which is one of the most interesting places in the United States. It’s a giant college town, has a solid tech and political base, and an intense creative culture. It’s home to the Austin Film Festival, SXSW and the last time I was in Austin I was told there are more live musical acts in a given night in Austin than any city in the USA. (Yes, that includes NY, LA and Chicago.)
2) Most people writing screenplays and making films make no money writing screenplays and making films. (Heck, even a good chunk of writers in the WGA, make little or no money in a given year.) Jackson just made over $100,000 in just the first two months of 2011 by winning The Doorpost Film Project and optioning a script. I’m not sure if that money is his, but whatever he takes home will go a lot further in Austin that it would in Los Angeles.
Jackson represents a new breed of filmmakers. He’s been making films since high school and by his own admission spent several years making bad films before he learned what he was doing. He got a film degree from UT—Austin where he was mentored by filmmaker/teacher Scott Rice. He’s surrounded himself with other talented filmmakers in Austin and became Kickstarter savvy which helped him fund his recent film. He’s busting his butt, writing scripts, and willing to fly in to L.A. as needed.
3) Robert Rodriguez. While screenwriters and filmmakers have traditionally moved to Hollywood after they’ve gotten their first break, Rodriguez is the poster child for bucking that trend. Here’s part of what Austin-based Rodriguez told a group of filmmakers in LA back in 2003:
“One of the benefits of being outside of Hollywood—one of the reasons I think like this (shooting digitally) has to do with the fact that I don’t live here. Because (in Texas) you’re so removed you get to examine (how films are made) and say, ‘That doesn’t really make sense for us out here. Let’s do what makes sense.’ And you find a whole other way of shooting. And that’s one of the best things you can do for yourself even if you work here (LA). Try to get a birds-eye view of things and really question it and you’ll start coming up with different ways of doing things that work.”
As I’ve said before, when I was in film school many years ago students were encouraged to not be a jack-of-all trade, and a master-of-none. But the new kind of filmmakers coming up (who may be in middle school or retirement homes—and everywhere in between) are jack-of-all trades. And some of them are on their way to becoming master-of-all trades.
They can not only write, but they know their way around cameras and non-linear editing systems, they are aware of various fundraising methods, they devour DVDs directors commentaries & online tutorials at lynda.com, and they are keeping on track of new distribution trends and get exciting about the success that Edward Burns has had self-distributing his films and the things that Kevin Smith said at Sundance ’11:
“The piece of advice that Walter Gretzky gave (his son) Wayne Gretzky was this…’don’t go where the puck’s been, go where it’s gonna to be.’ The philosophy was simple, if you puck chase you’re always going to be behind the game…You want to be the person that’s where the puck’s going to be.”
These new kind of filmmakers are reminiscent of those rebel filmmakers like Lucas and Coppola who back in their youth were embracing new technologies and pursuing a life beyond LA.
Today this new kind of filmmaker is going where the puck isn’t and they’re not afraid to make a bad film or two in their quest to make good films.
And, of course, they read Screenwriting from Iowa daily.
To view Jackson’s winning short film go to the film’s website, TheManWhoNeverCried.com