The Writer-Director Relationship
I got some positive feedback and also a little eyebrow raising from some of my director friends who read my previous blog entry “How much power should a director have over a production”. Now I have a vested interest as a writer and aspiring actor, as well as experienced sound guy, to maintain good relationships with local filmmakers, so I have to resist the urge to tone down my thoughts and opinions in order to avoid being ostracized. But I feel I can and must be honest and open in my blogging. To do otherwise would constitute a commercial sellout for which I would deserve to be completely squelched out by my readership here and on Twitter. How can I champion art over commerce, and then abandon my principles in order to land parts and and crew work? So I tell myself that I wouldn’t want to work for or with any local filmmaker who cannot take some constructive criticism and look in the mirror once in a while. I do it every day! And much of what I say here is tongue-in-cheek, and I will mock myself just as quickly and easily as I’ll mock anyone else.
One of my colleagues told me in no uncertain terms that until I’ve walked the walk, I should refrain from criticizing anyone else. Well, my first short is in post, and as soon as I finish the editing, I will put it out for the world to see (and criticize!). But as I stated in a previous blog, I do not believe that one needs to be an expert practitioner to be able to nor allowed to critique the work of others. And furthermore, there is a benefit to having one’s efforts objectively critiqued. A filmmaker’s close friends and co-workers are going to be hesitant to tell him what’s not right about what he’s doing or make strong suggestions for improvement (not if they want to continue to be friends and work on productions). That’s what the outside set of ears and eyes is for. That’s what I do. (takes a deep breath)…
Let me state for the record, that while there are some good indie directors who can also write, being a good director neither implies nor guarantees being a good writer. These guys need to study the craft just as we dedicated writers do. They need to read books and take classes, and practice just as diligently as any other writer. They should have friends review their screenplays and solicit honest feedback, just as any smart writer would do. And they should (if they aren’t already doing it) be reading lots of Hollywood screenplays and watching lots of movies.
I think I struck a few raw nerves when I insinuated that ego was possibly the reason many indie directors only want to direct their own scripts, even if (as I had originally put it) they were just so-so writers. And I think that is a shame, since there are a lot of great writers (who don’t pretend they can also direct) with some great scripts to offer up. It seems to be the nature of the (indie) beast though that most of the filmmaking is done by combination writer/directors.
There are a lot of brilliantly-photographed, wonderfully-acted, beautifully-scored films where objective viewers are left scratching their heads at vague themes, lack of character development and arcs, trite dialog, thin plots and predicable endings: the hallmark of poor writing. Now, it’s not all as bad as that. There are some great small budget indie films and web series’ out there (and I know some of the people who have made them and will interview a few of the top area filmmakers in the near future). I’m just saying that there is also a great deal of poor storytelling (yes even in Hollywood and even on Netflix): thinly-disguised with interesting camera work, sensational special effects, and catchy music. It’s pandemic though in the indie world. We should all strive to rise above that.
I wrote in an earlier blog about how indie filmmaking had become a much more accessible medium with the advent of inexpensive video cameras, and free or cheap distribution channels such as YouTube, but that this had created an over-saturation of mediocre quality material (what I, when wearing my sound guy hat, refer to as a low signal-to-noise ratio). I am a firm believer that for a film to rise above and apart from the noise floor, it needs to have more than beautiful shots, a lovely musical score, and photogenic and talented actors. It needs a great story. I can’t see anyone arguing with that point.
I sort of hope that one of the main outcomes of any constructive criticism, will be that the cream of the low-budget indie filmmakers would self-reflect more and would raise their own standards even higher. There are some really talented local filmmakers. A good screenplay is one of the things that a low-budget filmmaker can afford in the indie world (as opposed to helicopter shots, exploding cars, and shots of actors walking on the floor of the New York Stock Exchange at midday). I also would hope that those who are endlessly churning out fluff, and then begging incessantly for people to view and like their stuff, would be encouraged to put their inexpensive camcorders aside for a little while, and study and read and reflect, and pay attention to the good stuff out there. Maybe they should consider even hooking up in a supporting capacity for a period of time with a truly talented filmmaker to really learn what goes into the making of a good film.
My parting advice to everyone is to dial down the egos a little: there’s room for improvement for everyone. I know that my writing can certainly stand improvement. That’s one of the reasons I blog. And it’s one of the reasons I heartily welcome your feedback.