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Posts Tagged ‘Quentin Tarantino’

“So you got that foundation story [in Hollywood Shuffle], but it goes into the whole set piece about Hollywood’s first ‘Black Acting School.’ Then it goes into the whole detective piece, and even the movie they’re actually shooting at the end is like a setpiece in itself. It’s really interesting how every phase of Shuffle opens up into this whole cinematic universe of its own . . . . Even The New Negroes is continuing the lineage from Hollywood Shuffle and I’m Gonna Git You Sucka to now.”
Hip hop artist and comedian Open Mike Eagle
Tracing the Influence of Robert Townsend’s Hollywood Shuffle with Open Eagle Mike by Erik Abriss
October 2018

The 1987 spoof Hollywood Shuffle might seem like an odd film to inspire a young Quentin Tarantino before he became an Oscar-winning writer and director, but when you step back it all makes sense. And Tarantino’s takeaway from Hollywood Shuffle may help you in your own writing.

The low-budget indie film Hollywood Shuffle (co-written by Townsend and Keenen Ivory Wayans) was a critical and commercial success and got good marketing buzz at the time by being self funded using credit cards. To use Ted Hope’s phrase that was the “Story behind the story” that helped build an audience. And back in the pre-digital days it was unheard of to make a feature using credit cards. (Though it’s still not a strategy I’d endorse, it paid off for Townsend who was already an accomplished actor.)

In episode three (“You’ll Be a Director Soon”) of the excellent three-part podcast Quentin Tarantino’s Feature Presentation Q&A with Amy Nicholson there’s this brief exchange:

AMY NICHOLSON : Was [Hollywood Shuffle] inspirational to you—that you can just make a thing?

QUENTIN TARANTINO: Yes, it was inspirational. But it wasn’t inspirational because of the movie he made. It was the inspiration involved in him making it. To me Hollywood Shuffle was inspirational for like the way he did it and also the way it could be done. What I mean by that is— to make a feature film from beginning to end on no money is something. 

Tarantino doesn’t consider his first film as is first film. Perhaps because it was never finished. (At least I don’t think it was.) But he does consider his four year effort to make My Best Friend’s Wedding as his film school. If my math is correct, Tarantino worked at Video Archives from 1985-1990 where he was a mini-celebrity for his vast film knowledge.

But he was a 9th grade drop out, only making $200 a week, and his life seemed to be going nowhere. In interviews he’s said that he got the itch to make a film two years into his job renting videos. Add two years to 1985 and you land on 1987 and the release of Hollywood Shuffle.

One takeaway from My Best Friend’s Wedding is a scene where his character talks about Elvis. That scene was recycled into his script True Romance which sold in 1990. In 1991 he went to the Sundance Labs to further develop his script Reservoir Dogs which in 1992 became his directorial debut. True Romance (1993) got made with Tony Scott directing and Christian Slater and Patrica  Arquette starring . Then Pulp Fiction was released in 1994 and he collected his first Oscar in 1995.

Would all of that happened without Tarantino seeing Hollywood Shuffle in 1987? We’ll never know, but I imagine his talent and ambition would have found other ways rise to the top. But we do know that the black acting school sequence in Hollywood Shuffle did show him a different way to chunk out a movie.

“If you’ve got the kind of movie where you can do this sequence, and you can pour all your time and effort into this sequence, and then it’s done and you can go down for a little bit and then raise the money to do the next sequence—well, that’s different. That’s like you can do a few short films and you’ve figured out a way bring your short films together and turn it into a feature. Now you’re not just hanging and trying to tell this one story, you have these little mini-movies that you can do, and actually have a sense of accomplishment when you do them, and then you can pull them together.”
Quentin Tarantino on Hollywood Shuffle
Interview with Amy Nicholson

This is a technique that Tarantino is still using over 30 years after seeing Hollywood Shuffle. My favorite sequence in Once Upon a Time … in Hollywood is when Brad Pitt drives Margaret Qualley back to Spahn Ranch. My second favorite is Sharon Tate (Margot Robbie) going to Westwood to buy a book and catch a movie.

Go back and watch the first 20 minutes of Inglourious Basterds and you’ll see a sequence that is far from the Hollywood Shuffle in style and content but one that’s totally connected. That opening is a masterpiece of filmmaking and could have been its own mini-movie. (Indie filmmakers take note, that scene is essentially two actors and one glass of milk.)

Nicholson also points out to Tarantino in her interview with him that in Hollywood Shuffle they play with many styles—sitcoms, noirs, infomercials, actions movies, a slave movie, [you can also add satire and TV review spoof] and it reminded her that in Once Upon a Time … in Hollywood he also plays with many types of styles, genres, and skits.

Tarantino said he hadn’t made that connection himself. And adds that a movie associated with Shuffle that says holds up better as a film is the blaxploitation satire movie I’m Gonna Git You Sucker (1988). It’s also a film he says deals with subtext of cultural identity better than Shuffle.

So there you have it, two unlikely films that inspired and informed a young Tarantino before he had a filmmaking career and that still resonates in his work today.

P.S. My Own Personal Earthquake in 1987: 

My life changed on October 1, 1987 during the Whittier earthquake. I remember clearly where I was when it happened at 7:42 in the morning. I was in a Ford Ranger at a stop light on North Glenoaks Blvd by Burbank High School.  I was on my why to a post-production house in Hollywood. When my truck started bouncing my first thought was some high school students were jumping on the bumper of my Ford Ranger truck as a prank. When I saw the windows of a 7-11 store wobbling and people running out of the connivence store I knew it was an earthquake.

I was 26-years-old and working full time as a 16mm camera operator and editor. I had made 8mm and 16mm narrative films in film school, and also done workshops at UCLA extension, AFI, Tracey Roberts Acting Studio, Robert McKee’s story structure, and had just finished my first feature script. I felt pretty confident I’d make my first feature by the time I was 30.

Two people I’d gone to school with had already made features, David Nutter—Cease Fire (1985) and Peter George —Surf Nazi’s Must Die (1987), and a third, David Huey, was working as a camera assistant on Pee-wee’s Playhouse on his way to making martial arts feature films.

I could see a path to where I wanted to go. But quicker than you can say Rick Dalton the path was altered. To make a long story short, I was married with two young stepkids at the time and my wife (from Colorado originally) was terrified after seeing the damage, injuries, and death brought on by a modest 5.9 and like a lot of people worried about “the big one.” There were other factors—like cost of living— and we made the decision to return to my hometown of Orlando at the end of 1987. Perhaps I could take advantage of getting on the ground floor of Hollywood East as Disney and Universal Studios were building sound stages for the planned influx of work to Central Florida.

In The Natural when Glenn Close asks Robert Redford what happened to him he says, “My life didn’t turn out the way I expected.” Can you relate to that? I think most people can. And one of the joys of going to the movies is seeing characters deal with life— the good, the bad and the ugly.

Related Posts:
Once Upon a Time … in Burbank
‘Once Upon a Time …’ Jacksonville  

Scott W. Smith

 

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Ritz Theatre and Museum in Jacksonville, Florida

Jacksonville, Florida was once known as “The Harlem of the South” referring to the African-American renaissance going on in Harlem, New York mostly in the 1920s and 30s. A time of intellectual, social, and artistic explosion.

That creative expression was also experienced on a smaller level in the LaVilla area in what’s now part of downtown Jacksonville. There were clubs, restaurants, and movie theaters for blacks in the “separate but equal” era of racial segregation.  The Ritz Theatre and Museum in the above photo was built in 1999 on the original site of the Ritz movie theater. (The sign is part of the original building.)  A young Ray Charles performed there and author Nora Neale Hurston (Their Eyes Were Watching God) worked around the corner at the Clara White Mission while living with an uncle in the area.

The Ritz Theatre was one of the stops on what was known as the “Chitlin’ Circuit,” where black entertainers traveled between places like the Apollo Theater in Harlem, the Fox Theatre in Detroit, and Royal Theatre in Chicago. Dates vary, but that period appears to have lasted from the early 1900s though the early 1960s.

There were a couple of movie theaters in the LaVilla area including The Strand Theatre which was built as a vaudeville theater in 1915 and became an African American theatre showing movies. (To read more of the movie history visit The Lost Theatres of LaVilla.)

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The Stand Theatre

According to the book Richard E. Norman and Race Filmmaking by Barbera Tepa Lupack in 1914 there were only 238 theaters in the United States that catered to exclusively black patrons (compared to “32,000 white houses”). Most of those theaters catering to blacks showed traditional Hollywood movies. But after D.W. Griffth’s Birth of a Nation (a movie said to give rise to an almost dead KKK movement) there was a push to make what was known as race films or race movies.

John Noble and Rex Webster made The Birth of a Race as a direct response to The Birth of a Nation (1915). The film premiered in 1918 at Chicago’s Blackstone Theater. It was nowhere as widely seen (or praised) as Birth of a Nation—nor as technically proficient. But it was a response to make films that did not show a stereotypical view of blacks. One that resonates today. And one that was addressed in Robert Townsend’s 1987 movie Hollywood Shuffle. (A film I’ll write about later this month since it influenced a young Quentin Tarantino.)

Producer, writer, director Oscar Micheaux (The ExileHarlem After Midnight) is considered the first successful African-American feature filmmaker and I like to point out that his first film (The Homesteader) based on his novel was shot in Gregory, South Dakota and…wait for it—Sioux City, Iowa.

Few of the race films in their entirety survive to this day. But I was able to see one this weekend in Gainesville, Florida. The Cade Museum showed all six reels of The Flying Ace (1926) which was billed on the original poster as featuring an “ALL ALL-COLORED CAST.”

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The film was written and directed by Richard E. Norman. I wonder if he ever crossed paths with Micheaux. Before Norman moved to Florida he lived in Iowa (I swear I don’t make this stuff up) and had a company called Capital City Film Manufacturing Company of Des Moines, Iowa. One of his business cards stated, “Director and Photographer of Successful Photoplays Featuring Home Talent, Des Moines, Iowa.”

Apparently he did advertising, industrial films, and recorded special events throughout the Midwest. He did well enough that he had his own laboratory in Des Moines to develop his film. He also was resourceful enough to make short films with local talent in various cities and then show the films at a local theater and make a lion share of the 60/40 spilt with the movie theater.

But he moved to Jacksonville, Florida and opened Norman Studios and eventually began using his talent to make race films. He also happened to be white. At the screening Sunday his grandson was on hand to introduce the screening of The Flying Ace. 

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Live music accompanied the screening of The Flying Ace.

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The buildings of Norman Studios survive to this day and a non-profit organization has been set-up to preserve its history. If you look at the map below you’ll see that Norman Studios was located less than five miles from where the Ritz Theatre now stands.

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Google Earth screen capture

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And because all things are connected in Quentin Tarantino’s Tarantinoverse parts of The Flying Ace were shot in Mayport just outside of Jacksonville. The Navel Station Mayport is located there and if you’ve read Tom Wolfe’s book The Right Stuff you may remember that Wolfe starts out discussing Navy life in Mayport/Jacksonville and begins with a gruesome plane crash of Navy jet in the swamp area around Mayport. (See the top right area of the above map.) Here are the first few paragraphs of The Right Stuff:

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The wives of the young jet pilots were calling each other to see if they’d heard what had happened “out there” until an officer would arrive at one of the homes and begin with “I’m sorry….” I don’t recall that part being in the 1983 film version The Right Stuff. 

But perhaps it will be touched on in the Tv mini-series of The Right Stuff that is being set-up at Universal Studios Orlando. (Just a few miles down the road from where I’m writing this post.) One of the producers is Leonardo DiCaprio who plays Rick Dalton in Tarantino’s Once Upon a Time … in Hollywood. 

Here are some other posters from the race film The Green Eyed Monster that Norman produced that perhaps can serve as inspiration to Tarantino’s 10th and final film before he retires from feature filmmaking.

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P.S. Yes, I am aware that other places considered themselves “The Harlem of the South” so no need to write me about that.

Scott W. Smith

 

 

 

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“The Hollywood we were driving to that fall of ‘63 was in limbo. The Old Hollywood was finished and the New Hollywood hadn’t started yet.”
Andy Warhol
Popism

Once Upon a Time … in Hollywood is a strange mixtape (with alternative tracks) of the ups and downs of the movie industry. Writer/director Quentin Tarantino could have picked any era in the past 100 years and told a different version of the same story. Only the names change. He chose 1969 which was a memorable year in so many ways.

The movies True Grit and The Wild Bunch were the old guard and Easy Rider and Midnight Cowboy were the new guard and they well represented the changes going on in Hollywood. And in the 1969 movie Butch Cassidy and the Sundance Kid the famous old west bank robbers are told,It’s over don’t you get that? Your times is over and you’re gonna die bloody, and all you can do is chose where.”

Tarantino wraps his fictitious story around the true events of the Mason cult killings in Los Angeles in the summer of ’69 that for many signaled the end of the peace and love hippy movement.

“Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969.”
Joan Didion

But Tarantino actually made a buddy love story of sorts between fading actor Rick Dalton (Leonardo DiCaprio) and his stuntman Cliff Booth (Brad Pitt) that is full of his high brow, low brow approach to filmmaking. Some of Tarantino’s favorite movies are male bonding stories (Big Wednesday, Fandango, Rio Bravo).

Burt Reynolds would have loved this movie as his influence on Tarantino is unmistakable. (Reynolds was originally cast in the movie but unfortunately died before the movie was shot.)

Reynolds was one of those actors that did what movies and television shows he could in the ’50s and ’60s until he was able to become a movie star in with release of Deliverance in 1972. (After becoming the biggest box office star in Hollywood for several years he would eventually have his own Rick Dalton moment of falling off the Hollywood radar. But he was able to bounce back an earn his sole Oscar nomination for his role in Boogie Nights.)

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“Navajo Joe” (1966) starring Burt Reynolds and directed by Sergio Corbucci

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Quentin Tarantino was named after the character Quint (Burt Renyolds on the right) from the classic Tv show Gunsmoke. Hal Needham performed the stunts for Reynolds on Gunsmoke.

“I’ll tell you one of the greatest moments I’ve had in these however many years we’ve been at it in this town: getting to spend two days with Burt Reynolds on this film.”
Brad Pitt (on doing table reads and spending time with Reynolds)
Esquire interview with Michael Hainey

Watch the 2016 documentary The Bandit centered around Reynolds and his stuntman (turned Smokey and the Bandit director) Hal Needham either before or after watching Once Upon a Time … in Hollywood and it will only enhance your appreciation of Tarantino’s creative gift of making old things new.

This post isn’t a review of the movie but more what the movie stirred in me with the hopes that it will help provide you a roadmap wherever you are on your filmmaking journey.

Tarantino is two years younger than me and I imagine we have many of the same cultural references growing up; watching Batman, Kung Fu, The Lone Ranger, Bruce Lee in The Green Hornet reruns and old westerns and war movies on TV, and Billy Jack and Willard in theaters. Before learning to drive a whole generation was exposed to its share of fist fights and gun battles. As it’s been said—movies reflect the culture they help produce. Heck, that could be the theme of Once Upon a Time … in Hollywood as one of the Manson family cult members says as much.

Inspired by many great films of the ’70s I found my way to Hollywood, California in 1981. If Once Upon a Time … in Hollywood captures the glorious fading light of old Hollywood, I found a decade later that the glory had all but departed. Seedy would be the best way to describe Hollywood at that time. I quickly landed a studio apartment in safe and quiet Burbank.

I finished film school at Columbia College Hollywood which at that time was on North La Brea which meant everyday I drove past Disney Studios, The Burbank Studios, and the back of Universal Studios as I made my way over the hill from the San Fernando Valley on Barham Blvd in Burbank to Cahuenga into Hollywood and usually down Sunset Blvd. or Hollywood Blvd., and past the studio that Charlie Chaplin built all in a 20 minute drive to school.

My first job while in school there was as a driver for BERC (Broadcast Equipment Rental Company) in Hollywood and that was my ticket to getting into NBC, CBS, and ABC studios delivering equipment. Other jobs led getting on the Paramount lot in Hollywood and Twentieth Century Fox in Culver City.

Back in the ’80s I bought books and scripts at Larry Edmonds Cinema and Theatre Bookshop, ate at The Musso & Frank Grill and the Formosa Cafe, saw movies at the Egyptian Theatre, the Cinerama Dome, and the Chinese Theatre, and went to concerts at the Hollywood Bowl, drove through Beverly Hills, rented equipment from Birns and Sawyer, and of course, walked many times down the Hollywood Walk of Fame. All things that you can still do today if you want to experience old Hollywood.

And if you really want to be trippy go see Once Upon a Time … in Hollywood at the Bruin Theatre in Westwood Village which is featured in the movie when Sharon Tate (Margot Robbie) goes to see the movie she’s in (The Wrecking Crew).  And if you want to go full Tarantino you can go watch Once Upon a Time … in Hollywood again at the New Beverly Cinema owned by Tarantino.  (Which is just one block off La Brea and around the corner from Pink’s Hot Dogs and where I went to film school—because all things are connected in Tarantino’s universe.)

Here’s another odd connection. When I was a fresh out of film school 16mm camera operator/editor for Motivational Media I once shot an interview with Kirk Cameron at the lesser known Warner Bros. Ranch in Burbank which is 32 acres full of Hollywood history dating back to the 1930s. That shoot was in 1987 when Cameron was a teenager and one of the stars of the TV show Growing Pains. Also appearing in episodes of Growing Pains was not only an up and coming actor named Leonardo DiCaprio, but a then unknown actor named Brad Pitt.

While living in Burbank director Paul Mazursky (Bob & Carol & Ted & Alice) once walked in front of my car and at crosswalk by the Warner Bros. lot, I walked on the set on The Johnny Carson Show (thanks to a security guard on one of my deliveries), and I saw director John Huston (The Searchers) in a wheelchair outside of FotoKem a few months before he died in 1987. (Actually the same facility where some of the post-production work was done on Once Upon a Time … in Hollywood.)

And one final touch of Hollywood history I experienced in Burbank was meeting Richard Farnsworth standing in line at a movie concession stand in the mid-’80s. He was best known then as an actor in The Grey Fox and The Natural, but he first spent 30 years as a Hollywood stuntman working on films like Red River, Gunga Din, Spartacus, Ben Hur and a whole bunch of TV westerns. (Farnsworth’s Oscar nomination for The Straight Story at age 79 and 167 days is still the record for the oldest Oscar nominee for Best Actor.)

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Because all things are connected in Quentin Tarantino’s world, notice that  the character Farnsworth plays just got released from San Quentin.

I think Farnsworth would have gotten a kick out of Once Upon a Time … in Hollywood. When I asked him if he was Richard Farnsworth he genuinely seemed pleased that I recognized him. I’m sure he saw plenty of Rick Dalton’s in his days—and probably felt like Rick Dalton when he was no longer needed to fall off a horse or drive a chariot.

P.S. Just last week I was watching Butch Cassidy and the Sundance Kid again and did a couple of screen grabs because I thought I could use them on a post about lighting. But Robert Redford and Paul Newman seem to fit in right here along side Pitt and DiCaprio.

“The theme [of  Butch Cassidy & the Sundance Kid] is times are changing, and you have to change with them—if you want to survive.”
William Goldman
Adventures in the Screen Trade

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Related posts:
Tarantino Gumbo Soup Film School
Star Wars Vs. Smokey and the Bandit (Remembering Burt Reynolds)
Sacred Land, Moving Pictures (post ends with a clip from Billy Jack) 
Writing ‘Butch Cassidy & the Sundance Kid’
‘The way I wrote…’ —Tarantino

 

Scott W. Smith

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I know there is a lot of noise and distractions out there— in regard to finding filmmaking information and inspiration—but I’m enjoying producer Ted Hope’s Facebook posts recently. Here’s just a short excerpt from yesterday’s post.

“To make a great film, you generally have to make a good one first — and to make the good one, you have to make a not-so-good one even before that. Sure, the exceptions come out of the gate strong, but that is not most of us, and certainly not the ones who have to run the long distance race.”
Ted Hope,  Amazon Studios
Facebook post 8/20/18

P.S. The best example of that is Quentin Tarantino. His first feature film was not Reservoir Dogs—that was his first completed feature film. Before that he spent three to eight years (reports vary) shooting and editing  My Best Friend’s Birthday which was never completed.  Along with watching movies, Tarantino considers that his film school. It’s estimated that he spent $5,000 on My Best Friend’s Wedding—which makes for a pretty inexpensive film school.

Related posts:
‘If I ran a film school…’—Ted Hope
Start Small…But Start Somewhere
‘A new and vibrant cinema’—Ted Hope
Failure, Failure—Wild Success (Larry David’s Journey to Co-creating ‘Seinfeld’)

Scott W. Smith

 

 

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“I wanted to make a skyrocket big enough that I could shoot the damn thing in the air and they could see me in Los Angeles. So that’s what I did.”
Austin-based filmmaker Tobe Hooper on making The Texas Chainsaw Massacre (1974)

Tobe Hooper made documentaries and commercials in Texas before making a hippy/psychedelic feature film called Eggshells in 1969. When only a few people outside of students at the University of Texas in Austin saw the movie, Hooper put aside his European art house film sensitivities and made this to turn heads—

It worked. He went on to direct Lifeforce in 1985 (which is said to be a favorite of Quentin Tarantino) and Poltergeist (which was produced by Steven Spielberg).  The line from Poltergeist “They’re here” was a “Show me the money”-type line that became was often quoted throughout the 80s.

P.S. Eggshells has been called “the first feature shot in Austin” and I don’t know if that’s true, but Hooper has to be considered a founding member of what’s turned Austin into one of the great film communities in the world.

H/T Brad Apling for sending me some Tobe Hooper links that give me a track to run on.

Scott W. Smith

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“I steal from every single movie ever made. I love it—if my work has anything it’s that I’m taking this from this and that from that and mixing them together….I steal from everything. Great artists steal, they don’t do homages.”
Two-time Oscar wining screenwriter Quentin Tarantino
Empire, November 1994

Note: I’m pretty sure he stole that last line, too.

Related Posts:
Stealing from Shakespeare
Screenwriting Quote #39 (Woody Allen on be a “shameless thief”)
“Steal Like an Artists”
Fueling Your Imagination (Jarmusch Style)
Where Do Ideas Come From?

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“You have so many opportunities now….We’re in a new frontier.”
Screenwriter Diablo Cody
Juno Has Another Baby (Emmy)

“You absolutely can make movies. The idea of having a career in the movie business is very, very different ”
Writer/director John Sayles (Lone Star, Sunshine State)

Diablo Cody poses backstage after winning an Oscar for best original screenplay for Juno at the 80th annual Academy Awards in Hollywood

Apparently it’s Mike Birbiglia week. After three days of pulling quotes from Mike Birbiglia’s interview with Tim Ferriss, I was surprised yesterday to hear Birbiglia interviewed by Craig Mazin on Scriptnotes.

What jumped out to me on his interview with Mazin was a brief exchange that hits at the the core of what I’ve been blogging about since 2008 after former University of Iowa grad Diablo Cody hit the screenwriting scene with Juno.

Mike Birbiglia: I’ve been traveling around the country with Liz Allen who coached our improv team in [Don’t Think Twice] and she does these free improv workshops at these [indie film] theaters, and I speak about how improv is related to my process as a director, writer and actor. And the thing I say is I would highly recommend people make something. If they’re living in Austin, or Iowa City, or Chicago or anywhere, and feel like you have something to say or a story to tell—we’re in an era where you can shoot something for nothing. And if you don’t believe me, go on Netflix and watch Tangerine [a film shot on a iphone that played at Sundance] and you’ll go, “Oh, that can be a movie? Holy cow. ”

Craig Mazin: You’re 100% right. But I wouldn’t suggest necessarily for people to start making things so that you can become famous and sell those things. Make them as part of your education. You don’t have to show them to anybody. If you make something of your own thing and hate it, you’ve learned so much.

MB:I did that in college. I shot a short film called Waiting to Be Great.

CM: —It’s still waiting?

MB: Yeah, it’s still waiting. It’s really not done. In the edit we kind of gave up on it at a certain point. We showed it to friends. It was just terrible. They said, “Nice try.”

So while you’re waiting to be great—just make something. It doesn’t even have to be good.  Have you ever seen Quentin Tarantino‘s first feature film? There’s a good chance you haven’t. I’m not talking about Reservoir Dogs, but the lesser known My Best Friend’s Birthday. A film that reportedly took four years to shoot and of which only 36 minutes survive due to a fire. (The first cut was 70 minutes and never released.)

I can’t recall Tarantino even talking about My Best Friend’s Birthday, but I imagine friends at some point told him, “Nice try.”And I’m pretty sure it played a key part of his education in becoming two-time Oscar-winning screenwriter Quentin Tarantino.

As you’re waiting to be great, just make something. It won’t be Juno, and it won’t be My Best Friend’s Birthday, but it will be a heck of an education. And it will be your vision that you helped create with a small team of people.

P.S.. And to round out yesterday’s post Bad Script, Good Pizza, Great Feedback you can add Frank Oz, Nicole Holofcener, Greta Gerwig and Mazin to the list of people Birbiglia had over to his place for script readings of Don’t Think Twice.

Note: Liz Allen coauthored the book Improvising Better: A Guide for the Working Improviser.

Related posts:
How to Shoot a Feature in 10 Days
Shooting a Feature Film in 4 Days
Shooting a Feature Film in 2 Days
Shooting a Feature Film in 1 Day
Shooting a Feature Film Over Dinner
The 10 Film Commandments of Edwards Burns
Writing for Low Budget Films
Filmmaking Quote #44 (John Sayles)
Filmmaker/Entrepreneur Robert Rodriguez
Start Small…But Start Somewhere

Diablo Cody related posts:
The Diablo Cody–Damien Chapelle Connection
Diablo Cody Day
The Juno-Iowa Connection
“Keep Your Head Down” “You will be a big deal for about ten seconds.”-Cody

Quentin Tarantino related posts:
Tarantino Gumbo Soup Film School
“When you have a big flop…”
“What I’m really here to do…”
“The way I write…”

Scott W. Smith

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