“In all this darkness, is there anybody who can make out the truth?”
The Twilight Zone/ episode I Am the Night —Color Me Black (1964)
Writer/director Sean Baker spoke at Rollins College yesterday and asked the question, “Can cinema change the world?” He talked about the filmmakers and their films that have inspired him over the years.
As with his own films (The Florida Project, Tangerine), Baker is drawn to films that are “passports to the underrepresented,” and ones that shine a light on a specific subject or problem, and have potential to have a positive impact on society.
Ken Loach (I, Daniel Blake)
Nicholas Meyer (The American TV movie The Day After Tomorrow, with and a nod to the BBC TV movie Threads—both movies sparked a debate about the fallout of a nuclear holocaust.)
Robert Kenner (Food, Inc)
Those films—as well as An Inconvenient Truth, JFK, and The Best Exotic Marigold Hotel— give you some insights on why he would be interested in doing a film about the hidden homeless or about an illegal Chinese immigrant.
Starting with an issue or a theme can be a dubious beginning as it can be seen as didactic and stepping into the murky waters of propaganda. Baker acknowledged that he doesn’t have all the answers, but he is committed to asking the hard questions. He’s working toward change knowing that change takes time. Sometimes years or even a generation.
As a side note, Rod Serling began with a theme on The Twilight Zone episodes yet eventually found a universal audience with timeless truths.
“In my case, first I think of a theme and then chose a storyline or a plot to go with it. Once this is chosen, the characters fall into place.”
Rod Serling letter to Dave Pitt
Read Serling’s 1968 Moorpark College speech and you’ll see where he stood ideologically. But in the early ’60s he couldn’t overtly write about racism and other social concerns, so he used metaphors. He could address xenophobia by writing about space aliens, as he did on The Monsters Are Due on Maple Street.
“[Rod Serling’s] optimism about the human condition led to stories that made one feel good about the race and its chances for emotional triumph. That, well told, will always sell.”
Producer Buck Houghton (The Twilight Zone)
What a Producer Does
I wrote many positive posts on this blog about The Florida Project, but one thing it wasn’t was a film that gave us hope for an emotional triumph. I think that is why it had a limited audience. Audiences like to see a character change for the better, even if it’s just one tiny step forward. Halley (Bria Vinaite’s character) took (at least) two giant steps backward and devolved (taking her daughter with her) making it difficult for some to even finish watching the film.
Baker’s a bold filmmaker. It takes him three years to make a film so he made the film he wanted to make. And maybe the change—the emotional triumph— that he wanted to see was not one that happened on the screen, but one that happened to those that watched the film. Personally, no film resonated and haunted me more in 2017 than The Florida Project.
Baker said last night that “the true success of The Florida Project” was that Rollins College has promised a full four-year scholarship to Christopher Rivera, the child actor who plays Scooty in the film. Rivera was living in a hotel in Kissimmee, Florida when he was cast to be in the film alongside Brooklynn Prince. (According to the Orlando Sentinel, with room and board at Rollins that offer is “roughly $250,000 at current prices.”)
As Baker pointed out, change can be on a micro level. One life changed because The Florida Project co-writer Chris Bergoch learned via news outlets about the hidden homeless living in hotels in the shadow of Disney World.
P.S. I know one of the conventions of indie filmmakers is unconventionality. Offbeat (even unlikeable) main characters, mini or non-plot stories, and downbeat endings. But if you want to nudge the world a little—to borrow Tom Stoppard’s phrase once again—please revisit On the Waterfront. It’s Hollywood filmmaking at its finest. (Marlon Brando, Elia Kazan, Budd Schulberg, Eva Marie Saint, Leonard Berstein) And it’s based on articles by Malcolm Johnson (see the book On the Waterfront) based on corruption that was common on the New York Harbor.
It’s a film that’s very specific to New York City/Hoboken, New Jersey in the ’40s & ’50s, and yet a timeless story that’s played out in one form or another throughout the world, throughout history. Considered a great American film—by some—and an anti-American film by others. Nothing like a controversy to keep the conversation going. It’s number eight on AFI’s 100 Films…100 Years list, and one of my favorites that I return to again and again.
On the Waterfront won eight Acadamy Awards, including Best Picture and Best Writing, Story and Screenplay. Here’s the screenplay. The film is available on Blu-ray as part of The Criterion Collection.
Not all writers agree on the role they have in plying their trade. Playwright/screenwriter David Mamet writes in On Film Directing, “People have tried for centuries to use drama to change people’s lives, to influence, to comment, to express themselves. It doesn’t work. It might be nice if it worked for those things, but it doesn’t. The only thing the dramatic form is good for is telling a story.”
On the other hand, when Charles Dickens wanted to address child labor laws and other poor social conditions in London, he didn’t write a pamphlet encouraging reforms—he wrote Oliver Twist, Hard Times, and A Christmas Carol.
They’re closing down the textile mill across the railroad tracks
Foreman says these jobs are going boys and they ain’t coming back
Bruce Springsteen/My Hometown
Musician Bruce Springsteen walks that line of entertaining large crowds, yet at the same time writing and recording songs with a social consciousness. Youngstown is one of my favorite Springsteen songs because it connects me to a grandfather I never met who spent over 30 years working at Youngstown Sheet and Tube steel mill.
I’ll write more about Springsteen and his Broadway special later, but one of the reasons his songs are both gritty and hopeful is he mixes blues with gospel music over and over again in his songs.
“If you look at all my songs – ‘Badlands,’ ‘Promised Land’ – it’s the way I sing ‘Badlands;’ it’s the verse of ‘Promised Land;’ it’s the chorus of ‘Born in the USA.’ The spiritual comes out in the choruses, which I got from gospel music in the church, and then the blues and what the song is — the details of what the song is moving to transcend are almost always contained in the verses.”
Bruce Springsteen
NPR interview with Terry Gross
Related posts:
The Journalistic and Cinematic Roots of The Florid Project
Sean Baker Aiming for Someplace Different…and Striking Gold
The Florida Project and Shining a Light
The Eye Candy of The Florida Project
Thanksgiving with The Florida Project and Pieces of April
The Florida Project—Margaritaville or Bust