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“I’m a self-taught filmmaker. I never went to film school. I never studied filmmaking. . . . I think Following was the peak of what I was able to do on my own or just with friends using our own resources.”
—Christopher Nolan

“I got my English degree and I couldn’t get into film school, and I just started making my own films on 16mm. And I think that was fortunate for me. I think I was better suited to just making films and leaning from that, than I would have been to learning in a more formal structure.” 
—Producer/writer/director Christopher Nolan (The Dark Knight, Dunkirk)

On top of making his own low-budget films, he got a day job to pay the bills.

“I was working in the field of corporate videos. I was doing camera work and sound work for media training sessions. And I actually learned a lot doing that kind of camerawork. Going into an environment, using a couple of lights and setting up fast. You’d figure out how to do something that looked pretty good pretty quickly. That was very much the production methodology that we transferred to film.”
—Christopher Nolan 

In one interview he said he started making 8mm films when he was 7 year old. That’s more than 20 years before his breakout success with Memento in 2000. Just making making and honing his filmmaking craft—despite not getting into film school. A couple years before Memento he finished the 69-minute film Following. It cost $6,000 (mostly for film stock and developing) and took a year to make because the unpaid cast and crew could only shoot on Saturdays because of their other jobs. And they couldn’t even shoot every Saturday because he didn’t have enough money for film.

Step by step.

Here’s the full film.


Related posts:
Lulu Wang’s Day Job Before ‘The Farwell’ (Producing videos for lawyers to be used in legal cases. At the end of that post is also a quote from writer/director Sean Baker who talks about the benefit he got working on corporate and wedding videos after NYU film school.)

Scott W. Smith is the author of Screenwriting with Brass Knuckles


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”I don’t know of a more noble, a bigger deal as a filmmaker than to be a YouTube filmmaker.”
—Casey Neistat

”[MrBeast’s] giving a lot of kids a new path to take, to teach these young kids on how to be entrepreneurial, not just to get a lot of views or become famous.”
—Josh Richards, 19-year-old TikTok creator
2021 NY Times article by Taylor Lorenz

This isn’t really a fair competition since Tom Cruise/Maverick is a real person/movie character and Casey Neistat/MrBeast are a real person/real person—YouTube persona, but I think I can make a point here (especially to young people) about where we’ve been and where we’re heading.

As of today (June 9, 2022), Top Gun: Maverick has made over $300 million at the domestic box office and is pushing $600 globally. And it’s only been out two weeks today. It’s on track to be the most financially successful movie of Cruise’s long and distingushed career. When he turns 60 next month he’s got to be grateful of the run he’s had.

But, I do wonder if he were 19 years old and starting out today, would Cruise head to Hollywood to build his empire or would he head to YouTube? This is where Neistat and MrBeast come in. A 19 year old today would have been born in 2003. Two years after 911, and the same year when Neistat’s first viral video (iPod’s Dirty Secret,) gained attention. They were 2 when YouTube officially launched in 2005. And 11 or 12 when Neistat launch his YouTube channel in 2015. Casey went on a two year daily tear and racking up as many as 77 million views per video on his channel. It made him a very wealthy man, and he earned the nickname the Vlogfather.

Are you with me so far? Here’s the crazy thing,

In 2015, MrBeast (Jimmy Donaldson) hadn’t even graduated from high school. We’re only talking seven years ago! But what MrBeast had done was obsess with his friends about YouTube and what makes videos go viral. And with the threat of his mom ready to kick him out of the house unless he went to college or got a job, Donaldson cracked the code and MrBeast was born. His first branding deal in 2017 was for $10,000. At the age of 23 he is said to now have built a $54 million empire as a content creator. (Or was that just his salary last year? Hard to keep up with these numbers.) His main YouTube channel has 96.7 million subscribers. His studio in Greenville, NC, is one of the largest on the east coast. When Cruise was 24 Top Gun hadn’t hit theaters yet, and MrBeast owns a dang production studio and and is employing I don’t even know how many producers, directors, cameramen, editors, designers, etc., etc.

This is one more perspective, Mr.Beast/Donaldson’s philanthropic out reach has given away more money than most actors and filmmakers will make in their lifetime. He’s the most popular YouTuber in the U.S. (maybe the world) and many of you are thinking—“I’ve never even heard of this guy.” There have been major shifts in production over the years—sync sound in the 20s/30s, TV in the 50s, cable in the 70s/80s, the internet in the 90s/00s—but this shift toward streaming/YouTube/social media in 10s/20s is making this the greatest era in history to be a content creator—and especially for those outside of New York and LA. (MrBeast is based in Raleigh, North Carolina.)

This may be a sweeping generalization, but I think the rock stars of this young generation are the content creators. Young people want to be YouTubers more than they want to be the next Mick Jagger, Meryl Streep, or Spike Lee. And here’s the good news for them—that YouTuber dream is much more attainable. I didn’t say easy, I said obtainable. Lilly Singh talks about working 13 hour days creating content, Neistat when he was doing his daily vlog had a 6 AM to midnight (18 hours) schedule. And MrBreast said forget the 10,000 hour rule, he estimates he has already put 30,000-40,000 hours into his career. (He started obsessing about YouTube before he was a teenager.)

And to that point, this week I finished Casey Neistat’s Filmmaking and Storytelling course. There were 17 people in my group and only four people completed their two films within the 30 day period. Some people didn’t even start the first one. I made a five minute short video in 10 days that I think I worked on harder than any production I’ve worked on in the last 10 days. (I’ll share it later when I can write a post about the experience.) But I am reminded of the book by the legendary graphic designer Milton Glaser—“Art is Work.”

There is a sea of change coming and I will write more about that this month.

But one thing remains the same, Ray Ban Wayfarer sunglasses still look as cool today as they did in the 1950s and musicians and actors started wearing them.

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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”Just do it. Make something. Put it out there and if it is good, it will be noticed.”
—Director Joseph Kosinski

Director Joseph Kosinski is going to remember June 2022 very fondly. He directed Top Gun: Maverick which has only been in theaters for a week and it’s already made over $300 million. And in a couple of weeks, his Spiderhead comes out on Netflix. How did go from growing up in Marshalltown, Iowa to directing a Tom Cruise blockbuster movie? I’m glad you ask.

According to this Time-Republican article, he moved to Mashalltown at age 5 and graduated from Marshalltown in 1992. He did his undergraduate work at Stanford (mechanical engineering) and master’s work at Columbia (architecture). Smart cookie for sure, but where did film come into the picture?

His skills in computer graphics opened the door to working on commercials and short films. And he started writing a short story called Oblivion —that grew into the 2013 film Oblivion starring Tom Cruise.

“I have come to appreciate the freedom I had while growing up in Marshalltown, being able to ride my bicycle around and going to movies at the Orpheum. Having lived in Manhattan for 10 years and now the Los Angeles area, the freedom was special.”
—Joseph Kosinski
Hollywood director comes home by Mike Donahey

Related posts:
Marshalltown #56 (Marshalltown) Photo of Orpheum where Kosinski saw Raiders of the Lost Ark as a kid in 1981.
Once Upon a Time… in Iowa (Jean Seberg)

Tron: Legacy (Part 1)

Scott W. Smith is the author of Screenwriting with Brass Knuckles


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”I think I did pretty well, considering I started out with nothing but a bunch of blank paper.”
—Steve Martin

”Embrace your environment and try to seek out a handful of ideas. . . You don’t need to live in New York for that to work. Find interestingness in your own life ”
—Casey Neistat

The above Casey Neistat quote reminds me of the time when I lived in Cedar Falls, Iowa and drove by a grain silo in the winter with a small group of people ice climbing up it. I thought it was interesting, but I didn’t pull over and spontaneously start shooting footage. I missed a golden opportunity at spontaneous filmmaking. At least someone did a short doc on the unusual activity. Interestingness 101.

This post has a little bit of a back to the future aspect to it. After all, silent film great Charlie Chaplin was known in his silent film days for getting an idea and going outside that day with some actors and shooting footage for a short film. That’s a long way from Titanic where James Cameron (and his crew of hundreds) spending years planning, shooting, and editing that hit movie.

But have you ever challenged yourself to create something in a week or two?

When last was started, I hadn’t even begun the Casey Neistat 30-day filmmaking and storytelling online class, and now I feel like I’ve wrapped my head around spontaneous filmmaking. (I was very fortunate to find an interesting character.) Here’s how last week went down.

Monday, May 9:

I watched Casey’s first message about how he just walks out onto the NYC streets looking for ideas to explore. (“Whenever you step outside here, you’re just kind of hit in the face with stories. And I think that’s true for wherever you call home.”) He’s looking for potential stories that will be compelling and emotional. It could be the noise of a chop saw and how the incessant noise of the city makes it difficult to get clean audio for his video, or wondering what it’s like to buy a counterfeit hand bag in Chinatown. It took me about 20 minutes to come up with four ideas to explore for my first project;  Brutalist architecture, my dog, my old Panasonic HVX 200, and kayaking. I decided on kayaking because it seemed like the most contained topic. There wasn’t a story yet, but I figured I’d at least get some good visuals. I knew that beauty shots alone wouldn’t be interesting, but it was a start. 

Lesson 1: Just start. I’m reminded of the Goethe quote, “In action, there is power, grace, and magic.” Or the more well known Nike ad campaign—”Just Do It.”

Tuesday May 10: 

Woke up at 5 A.M. so I could shoot my kayak in the water at sunrise. (That wasn’t the plan, but my puppy was my alarm clock.) Because the iPhone doesn’t handle dynamic range well, I knew the actual sunset would not be the best shot because the sun blows out. My best shot was about 30 minutes before sunrise at a boat ramp. It’s when the sky is the most dramatic as it’s transitioning from darkness to light. I finally was in the water around 6:45 and about 10 minutes into my trip I came up on a guy named Blake fishing on a dock, and he changed the direction of my entire concept. He’s a Full Sail University student originally from Louisiana and knew a thing or two about alligators. He instantly became my main character, and alligators became my focus. I interviewed him with my iPhone while sitting in my kayak as he stood on a dock where I found him fishing bathed in the early morning light. (He was the only person around the lake the morning I went out.)

Lesson 2: Don’t pass up the obvious. I paddled by Blake at first, but then an imaginary, miniature Casey Neistat popped up on my shoulder and told me, “Ahhh, you might want to go back and interview that guy.” Glad I did or my concept would be dead in the water. 

Wed—Saturday May 11-14

I shot more beauty footage around the lake, and looked for gators. 

Lesson 3: The little Joby GorilliaPod Magnetic tripod comes in very handy when shooting with an iPhone 13 ProMax from a kayak. Holding any kind of camera on kayak has a built in threat of dropping your camera in the water, but the Joby clamp and magnetic thingy gave me a measure of security.

Sunday May 15

Before going out to shoot a sunset Saturday night, my wife said to be careful because it was gator mating season. I’d forgotten that fact. On Sunday, it hit me that I could make that my hook to the story. So I recorded myself on-camera saying, “Is it dangerous to kayak in Florida during gator mating season? Let’s find out.”

Lesson 4: Because you’re continually developing your idea, your brain is like a pinball machine. You just have to recognize when you hit the sweet spot. I needed something that I could hook a viewer within the first 10-12 seconds. The promise of a premise is the way people talk about it in developing features and TV shows.

I’m currently listening to the Dave Itzkoff audio book Robin on comedian/actor Robin Williams who had off the chart talent as a spontaneous performer. But Williams admittedly could not translate that skill into a traditional style of writing a script.

“To be funny in print is a very hard thing for me to do. I can do it in performing, because it’s straight up—kaboom! But when I sit down at the typewriter I feel like an autistic child.”
—Robin Williams

So if you have ideas you want to explore, but have trouble sitting down and writing a story, explore some more spontaneous ways to create. Casey Neistat and Robin Williams are examples of people who work/worked best spontaneously on the fly.

Some screenwriters dictate to someone writing down their ideas, and some people audio record themselves. There’s no one size fits all way to create. You don’t have to just sit (or stand) at a computer. In fact, you don’t even need to have a computer. Quentin Tarantino, Spike Lee, and Woody Allen hand wrote some of their most beloved and award-winning screenplays. Judd Apatow wrote a screenplay on his phone during downtime from meetings and working on another film. While some resort to using notes on their phone or even emailing themselves ideas, there are several screenwriting apps for you phone or iPad/tablet. I bet there is someone in the world right now that is working on a feature film just spontaneously shooting actors with a smartphone.

The history of this blog owes a debt to spontaneity. Especially, when I was blogging daily I just had to jump in the water and start swimming. Even today it might just be a quote or something that serves as a nub for me to pick at until something more fully formed emerges.

Here are a couple of frames that are quick glance the video I shot last week. While I could have shot this with an Alexa camera and had a boom operator and sound team on a pontoon boat nearby, it wouldn’t fit my zero budget spontaneous experiment.

Now that I think about it, this style of just jumping into a story before it’s fully formed reminds me of the five years I participated in the 48 Hour Film project where you make a short film from beginning to end in 48 hours. I enjoyed that process. And the fringe benefit was I got to work with a great team of people all who volunteered their time, and each each with one some kind of award.

P.S. Much of the traveling I’ve done over the years I would classify as planned spontaneity. It’s a phrase I started using about 20 years ago when I backpacked across Europe with my wife. I had an overall idea of the countries we’d hit, but no real plan what days we’d be where, so we didn’t book any hotels or rooms. My wife (and others) thought I was crazy. But we did have a Rick Steves travel book, so we had a general idea when we’d go next. It was easily one of the best trips of my life. But buried within the spontaneity was years (decades?) of unofficial planning and dreaming to that the trip. Those that were close to Robin Williams said that what often came out as 100% spontinaity was stuff he had be thinking about a while. I’ve been wanting to do a kayaking story for about two years, so while it was a spontaneous decision last week—it was in the back of my head for a while.

Related posts:
Spontaneous Filmmaking with Casey Neistat

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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”Seek out interestingness.”
—Casey Neistat

It’s not like Casey Neistat and I are hanging making films together, but yesterday I started his online filmmaking and storytelling class. It’s not a sponsored thing either. Just taking it to pick up how he does what he does so well. Part of his secret sauce is spontaneous filmmaking. Just walking outside and seeing what he finds interesting. Or in the case of the above airplane video—find what inside is interesting. That video shot mainly in an airplane seat has 77 million views to date, so there’s quite a few people who find what he does quite interesting.

But it doesn‘t have to be an expensive seat or an exotic location. He first got wide recognition for doing a video complaining about getting a ticket in NYC for not riding in the bike lane. His idea of spontaneous filmmaking is to just go hunt for a basic idea around you and see what unfolds. No overthinking it. No meetings to kill it. (Most of the productions I’ve worked on over the years are fairly well planned out. After a discouraging meeting once, an art director friend quipped, ””How many meetings does it take to kill a good idea?”) So for the first assignment for his class, I looked around me and came up with four ideas from my home, work, and commute. Please help me decide which would make the best spontaneous video.  

1)    Brutalist architecture—think concrete:

Orlando, Florida is not known for its architecture (beyond Cinderella Castle at Walt Disney World). A while back I worked on an educational video of a college professor lecturing on Brutalism and it opened my eyes to an architectural style I didn’t understand. In fact, a building considered by some the ugliest in town (the Orlando Public Library) is an example of Brutalist architecture. I think there’s something to explore there since Brutalist buildings are scattered around the world.

2)    Sugar our puppy:
Getting a 9-year-old rescue dog is a setup for heartbreak. But Ginger made it thankfully to 14 and died in 2021. A little over a year later we made a spontaneous decision to get a puppy and it’s been wild two months. Puppies grow up quick so I’ve already shot a lot of videos and stills of her I could use.

3)    My old camera:
Casey stresses looking for ideas close by, and as I watched him talk I literally glanced to my left and two feet away was a box for an old Panasonic HVX 200 that I think I bought new 14 or 15 years ago. Loved that camera. I haven’t shot anything with it in years, but can’t quite come to terms with selling it (it’s worth maybe $200). Again, part of the concept of spontaneous filmmaking is not starting with a well formed three act structure. You just have a catalyst to get started. That camera helped pay a lot of bills for a few years. I don’t know what the ending would be, but the start of that video could just be memories of shooting with that camera.

4)  Kayaking through COVID:
I’d wanted to buy a kayak for years (even used a demo once), but didn’t think I’d have enough time to ever really use it. There are a lot of lakes and waterways in Florida, but time is a more limited resource. But I bought one the second month of the lockdown, and while working at home and a hybrid model for the last two years has provided me the opportunity to kayak over 200 hours in the last two years. This lake photo was taken this morning just after sunrise. Then it was off to the studio to edit. The best of both world.

So which one of these concepts would be more interesting to you to watch?

P.S. Here’s a trailer for the class. I’ll let you know what I think of it when I’m done. But I’m optimistic out of the gate. When I was much younger, I once asked for a refund after the first day of a three day production workshop I took. (As was the policy.) I felt like they covered ground I already knew. An older and wiser production friend told me, “Scott, you don’t go to workshops to learn everything—you go to learn a handful of things you didn’t know so that you can do what you do better.” That was (and still is) great advice. After that, every workshop or seminar I’ve gone to (or video watched) is an opportunity to pick up a few things. And, now that I think about it, that’s probably part of the foundation of this blog. Sometimes I’ll listen to an hour or two podcast interview just looking for that one fresh and interesting thing I can hold on to.

Here’s an example from just my first day in the class. Since Casey doesn’t start with a fully formed idea, while he shooting and walking around his mind is churning with not only the shot he needs for Act 1, but what ideas are there for Acts 2 & 3. Because even though it starts out loosely constructed doesn’t mean he plans on just letting the idea meander. He wants to stick the landing.

”The ending is always the hardest part of any story told. The ending has to be a bow that ties the whole thing together. . . .Without an ending you don’t have a story.”
—Casey Neistat

While that is well said, it’s not exactly a revelation. But what is a revelation is Casey’s success was built on starting videos without even knowing where he was heading. That’s pretty hard to pull off if you have a crew and a budget. But he could pull it off flying solo or with a friend or two. If you’re unfamiliar with Casey check out his film for Nike from 2012 that started without a plan other than basically let’s fly around the world until the budget runs out.

Related posts:

Work hard and be brave —Casey Neistat

Filmmaking is a Sport—Casey Neistat

Do What You Can’t—Casey Neistat

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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”Film will only become an art when its materials are as inexpensive as pencil and paper.
—Jean Cocteau

In regard to the above quote, the iPhone 13 Pro isn’t as cheap as a pencil and paper—but it is cheaper than the supplies I’ve seen in some art studios. Oscar-winning director Steven Soderbergh shot High Flying Bird a few years ago on an iPhone 8, so these cameras should be taken seriously. (Granted he had a $2 million budget, but it’s a film to study to see how he used the iPhone to his advantage. Tangerine was made for a lot less and with an even older iPhone. ) The 13 Pro Max is a huge step-up from previous iPhones because it can shoot 4k in ProRes, has a cinematic mode for select focus, and three lens selections.

Here’s a couple videos that show you the potential of the newest iPhone featuring the direction of Oscar-winning director Kathryn Bigelow and cinematographer Greig Fraser (who just won an Oscar for his cinematography on Dune: Part One). I hope there are film schools out there (even high schools) that are using the latest iPhone to make feature films this year. Producer Ted Hope said that if he was running a film school he’d require everyone to make a $1,000 feature because the lessons learned would be tremendous. Of course, you don’t even need to go to film school to make a $1,000 feature. You just need a $1,000.

I think in May, I’ll start exploring that concept some more.

P.S. High Flying Bird can been seen on Netflix.

These are the kind of accessories being made for the iPhone today.

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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”I don’t know what lens do—don’t know what an f-stop is.”
—Producer/director/writer Judd Apatow
MasterClass

”THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD”/ DP Roger Deakins

From the above quote by Judd Apatow, you can gather that not every filmmaker is a Robert Rodriguez or a Steven Soderbergh who can not only produce, direct, and write—but also shoot and edit. Especially if you don’t have the comedic chops of Apatow, understanding lens and f-stops is an important step on your filmmaking and content creation journey. And it’s easier to learn the technical aspects at 15 or 20 years old verses when you’re 30 or 40 years old. (If for no other reasons that you have more time and less demands when you’re younger.)

Being able to shoot their own footage was an asset to writer/director Sean Baker (The Florida Project) and writer/director Lulu Wang (The Farewell) before their feature film careers took off. Baker shot EPK (electronic press kits) and Wang shot legal/medical interviews to pay the bills. Even if you never shoot your own stuff, there is a benefit to understanding the basics of cinematography. As a symphony conductor once told me, “A conductor doesn’t need to know how to play every instrument, but he [or she] needs to know what every instrument does.”

There are so many ways to learn about cinematography online these days. (And you really can do wonders with an iPhone.) Here’s a recent video from Sareesh Sudhakaran at the Wolfcrow YouTube channel that is informative on apertures.

I’ll add other videos to this post as I think will be helpful without overwhelming you. But here are four excellent videos produced by StudioBinder that cover overviews of aperture, ISO, shutter speed, and lighting.

But if you wanted to spend a little money to do a visual deep dive check out Shotdeck.

Related post: Lens, Light, Location (The Lesson That Took Took Chris McQuarrie 25 Years to Articulate)

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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Well something’s lost, but something’s gained
In living every day

Both Sides Now, written by Joni Mitchell (and performed in Emilia Jones in CODA)

One of the reasons I steer away from writing much about recent film releases is they have not marinated into the culture long enough to see if they are going to have a lasting impact. And in the case of CODA—winner of three Oscars: Best Picture, Best Adapted Screenplay, and Best Actor (Troy Kotsur)— not only have many people not seen it yet, I have talked to people who don’t even know that film exists. (Blame it on COVID.)

Confession: It took me 8 months, its recent Oscar wins, and a free temporary pass to AppleTV for me to finally watch it last night. A really enjoyable film that left me with three take aways in my first viewing.

3) It’s the first film from a streamer to win Best Picture. (Netflix’s Roma won Best Foreign film a couple years ago.) In the last chapter of my book  Screenwriting with Brass Knuckles I addressed Hollywood vs. Silicon Valley. But two years later, when the COVID dust settles, we all might realize that Silicon Valley is Hollywood. (The good thing for creators is how much the streamers are creating.)

2) The film was familiar, yet different. It was shot in Gloucester, Massachusetts, a fishing town that was prominent in the film The Perfect Storm). Hearing impairment plays a key part in the film as did the recent hit A Quiet Place, the super indie film Sound of Metal, and the 1986 movie Children of a Lesser God (where Marlee Matlin won an Oscar). It has the young person underdog reminiscent of Karate Kid. A female protagonist with rising musical talent like Perfect Pitch. The demanding musical teacher with a hint of Whiplash. A girl with dreams going to a tough audition from Flashdance (What a feeling!), a teen love story like The Edge of Seventeen… the list goes on. CODA writer/director Siân Heder (along with Tarantino and Scorsese) knows that originality is rooted in your spin on the mixtape you put together. CODA itself is a remake of the 2014 French hit film La Famille Bélier.

1) CODA also did what I believe many of the best films do—it focused on brokenness and healing of the family unit. It’s a theme that will never be out of style, because it is so key to the human experience. Is there one family in the history of civilization that can’t relate to this most basic struggle? This won’t give anything away about CODA, but there is one moment in the film where I got goosebumps and my eyes watered. (And don’t tell David Lynch, but that all happened while watching on an iPhone.) And at that emotional peak of the movie, CODA reminded me of Rain Man. And of this nugget from Rain Man screenwriter Barry Morrow that I’ve been holding on to for a few weeks:

“One of the deepest, most ancient yearnings that humans have is the unity of group. And within that the family. We all have stories here of how lives have been hurt by fractures in the family. From kids whose parents are divorced to siblings that are estranged. We hate that brokenness. So if you can do a movie—which is always about discomfort and pain—if you can tap into some really primal themes. And pay them off in a way that’s satisfying and yet not saccharine, it should resonate. Again, that’s the kismet that we tapped into [with Rain Man]. . . . This was supposed to be a slice of life. Two guys on a road for a week. Disconnected and become connected. And that disconnect is what the movie works on, always. It’s what makes it funny. It’s what makes in poignant. And when their foreheads touch at the end, that’s the connection. As subtle as it is, that should probably be the movement at which you feel the most in the movie. I’ve been in many audiences—it’s a quiet moment. And so you do hear a little sniffling. And when I first heard that, I knew that it worked.”
Barry Morrow (co-screenwriter Rain Man)
UCTV Script to Screen interview

And just like CODA, there is a large referential wake behind Rain Man. There was the 1955 film Marty and the 1968 movie Charley And the inspiration for Dustin Hoffman’s character was actually based in part on autistic savant Bill Sackter. Barry Morrow had met Sackter in Minneapolis and became his guardian. When Morrow moved to Iowa to work at the University of Iowa he brought Sackter with him. Morrow wrote the 1983 TV movie Bill: On in Own which earned Morrow an Emmy. (That Emmy Award is on display in the University of Iowa Main Library in the Special Collections on the third floor.) 

And the documentary A Friend Indeed: The Bill Sackter Story, directed by Lane Wyrick, came out in 2008. It used much footage that Morrow shot back in the 1970s.

P.S. You may have noticed that Tom Cruise has a little film coming out next month titled Top Gun: Maverick. Of course, it’s one of the most antisipated films of the year. Back in 1986, Cruise starred in Top Gun beginning a great ten year run that in included the hit movies Rain Man, The Firm, Mission: Impossible, and Jerry Maguire. But of all of Cruise’s movies, Rain Man I the one I’ve seen the most. It’s a movie stealing role for Hoffman, but many forget Cruise’s brilliant performance in that film. For young filmmakers out there who haven’t seen Rain Man, do yourself a favor and not only watch it, but track down the DVD that has three commentaries. One with Morrow, one with co-screenwriter Ron Bass (who came on to make changes for the director), and also the commentary with the director Barry Levinson. It‘s a film course by itself. Best Film, Best Director, Best Actor, and Best Screenplay at the 1989 Oscars.

Related post:
It’s the Relationships Stupid!—A Heart to Hart Talk About Movie Endings with Lindsay Doran & Moss Hart

What’s being celebrated at the ends of those movies is each other.It’s the tenderness and the kindness and the comfort of each other.”
Producer (and former president of United Artists) Lindsay Doran
2012 TED Talk, Saving the World Vs. Kissing the Girl 

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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I have a feeling this is going to be Chris Moore week. The producer is known for his work on Good Will Hunting, American Pie, and Manchester by the Sea.

But if you can, track down the DVDs of the first two seasons of Project Greenlight which featured Moore along with Matt Damon and Ben Affleck. There are serious filmmaking lessons taught there as two films go through pre-production, production, and post-production. Just two examples that come to mind from memory:

1) Moore takes to task the location scout of Stolen Summer for picking a location to shoot two kid actors where the train goes by every five minutes making it difficult to get a full take of the scene in before they are interrupted again.

2) Elsewhere he criticizes the director for wasting a whole day building a platform in a lake for an eye of God POV shot looking down on a young boy in the water. It could be a brief drone shot today, but back in 2001 it was team of people building a platform. All for a shot that was too over-the-top to be used. Thankfully, just before they wrapped production for the day, Moore recommended to the cameraman that he get a shot of the young boy at dusk just on the edge of the lake just looking out at the water. That shot that probably took a minute to shoot and is what made the film.

Fast forward to the end of last year when he reflected on how the film business had changed since he first began working in it back in the 1990s. Certainly, the COVID pandemic beginning in 2020 affected the whole theatrical experience, marketing, and the changing nature of being a movie star. As streaming companies are having their finest moment as viewers embrace options at home or on their phone, Moore sees a disturbing trend emerging where streamers are just pushing out movie after movie to keep subscribers.

Red Notice [2021] is still going to be bigger for Netflix than a movie that doesn’t have The Rock, Gal Godot, and Ryan Reynolds. But when I use that example when I’m speaking in colleges, what I say is think about It for a second. That should be seen as the example as the end, right? To some extent, that movie should be recognized in our business as the jumping of the shark. . . .They had to have three of the biggest movie stars to get attention. I think those are three of the most charismatic performers we have out there. I did a movie years ago with Ryan Reynolds called Waiting, and he is super entertaining. I think The Rock is so charismatic. And Gal Godot has proved to be charismatic. She can be fun. I go, I’m definitely watching that movie. But when I watched it, I’m like it’s sort of like that phrase ‘It’s all sizzle and no steak.’ It’s fine, it has all the stuff there. But if you’re going to sit down and bring The Rock, Ryan Reynolds, and Gal Godot together, you should f—ing blow me out of the water…But the point is that we might be at the moment of volume right now, where all these streamers and everybody want so much product that everyone is jumping the shark. Like the whole business is jumping the shark right now.”
—Oscar-nominated producer Chris Moore
Indie Film Hustle 542, interview with Alex Ferrari

Once upon a time, people used to go to a movie just because Paul Newman, or Robert Redford, or Julia Roberts, or George Clooney, or Sandra Bullock, or Denzel Washington was in it. Today, because of the zillions of movie options (on top of video games, YouTube, TikTok, etc.) there’s a good chance viewers won’t even watch a streaming movie featuring the biggest name actors. And Moore’s point is even if they do, the movie’s themselves tend not to be the prestige movies of the past. The much anticipated Top Gun 2 comes out in May, and it will be interesting to see the response. The deck is stacked in its favor. But if people don’t show up in theaters to see “a Tom Cruise movie”( if there ever was one) look for fewer $150 million budget movies that are star centered.

P.S. And to show that Alex Ferrari was hustling back in 2003, here’s his audition tape for Project Greenlight, Season 2 where he made it into the top 25 of director’s chosen. That video reminds me of a Judd Apatow quote, “If you’re not obsessed, you don’t stand a chance.”

Scott W. Smith is the author of Screenwriting with Brass Knuckles

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