(via karenabadmfa)

I’m thankful for the art of filmmaking and moving images.

Rule #1: There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.

Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.

Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.

Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.

Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).

Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”

(via Movie Maker)

So a funny thing happened today. Last week, I thought I would be clever/cute and ask Austin’s sister for his address so I could surprise him and send him a random instax photo in the mail. Cause who doesn’t love getting snail mail? Well this morning, he received it.

When I got home from my bleh 16mm shoot (17 hour day) I found this package sitting on my desk! What a fun surprise! We both randomly thought to send the other person something as a surprise, respectively, at the beginning of the week and received it on the same day. Haha!

Thanks cuddlebug!

Edit: It gets BETTER! So Austin just told me he asked my brother for my address on facebook…which is what I did too…I asked his sister. hahaha We’re lame.

nine

Me Right Now, 12:25 PM, November 20, 2009

I don’t have a morning film shoot today, so I am editing and trying to finish work that I’ve been sporadically trying to complete in the last month. I just put in that daylight balanced lamp and it’s extremely soothing, mixed with the sound of rain outside. The glowey ant farm, that was a production design element from my thesis, is also keeping me company while I edit and do After Effects. This is also where I am answering hundreds of tech-related emails from work. I love my workspace.

eight

It’s been a while since I made one of these. I shot a 35mm short short and used the watercolour set as a prop and the little girl destroyed them so I had to wait to get more watercolours.

(via yvynyl)

Jookabox - You Cried Me

From the album Dead Zone Boys on Asthmatic Kitty Records.

Directed by: Tom DesLongchamp
Art Director: Jessica Phoenix

I’d like to think that this is an accurate portrayal of how events unfold in my mind.

(via karenabadmfa)

EYE see you!!!! You are reading at 7 and two thirds!

I’m very particular about what shoes I get, especially since I always tend to photograph my shoes in different adventurous terrain. Erika and I went out looking for a lanyard for my brother and I found these puppies. I really like them, especially those lil’ sailor buttons. Ahoy matey!

…that it’s a good thing and not a heart problem.