The secret of theft, which is also called “creativity,” is you have to steal a bit from a lot of different places. You can’t go to the same 7/11 every time because they’ll catch you. So you go to the photo shop, and you go to the gas station, and you go to that little hot dog stand that nobody goes to and by the end you’ve stolen enough stuff from enough places that people think its yours.
Via Austin Kleon.
This morning I went to a cafe to work on the script. The directing part of the script. I read through my old notes on Sidney Lumet’s Making Movies, an excellent book on directing. The main thesis of the book is that every movie has a theme, a central principle, truth, or message.
That theme guides all other choices. Once you have that theme, it’s easier to make your decisions and answer questions.
I spent about three hours thinking through the theme and how I want the camera to move and what do to with framing, the key moments of the film, the tone, and the rhythm. The rhythm is so important to me and I’ve learned from experience not to leave this to the editing room because there’s only so much you can do with cutting.
The movie is dialogue-heavy so it needs to feel in motion and to move forward at all times, so as not to get stuck in the single location.
And I leafed through my dog-eared copy of Werner Herzog’s book, A Guide for the Perplexed, which I love dearly.
When he’s not talking about being shot in the stomach or bamboozling border agents, he says things like:
The best advice I can offer to those heading into the world of film is not to wait for the system to finance your projects and for others to decide your fate. If you can’t afford to make a million-dollar film, raise $10,000 and produce it yourself.
Guess that one stuck.
This should be a lesson to filmmakers today with inexpensive digital technology at their disposal. You need only a good story and guts to make a film, the sense that it absolutely has to be made.
I learnt that the worst sin a filmmaker can commit is to bore his audience and fail to captivate from the very first moment.
And of course because why not
I tried things out with various pigs during pre-production, but none of them became altitude sick.
Drove down to Paxton, IL today to see about a house to make a movie in.
There’s a real joy to this part of making a movie, getting out and meeting people that welcome you into their home and are excited about helping you and then taking for hours about how the house isn’t perfect but it will work and now we can relax because of the 3 possible disasters that might derail this thing, one at least has a workable situation and if it all works out then we get to spend 2 weeks in a quaint town with good summer air with good people and the chance at at a transcendent shared experience.
And then we found this burger joint across the train tracks with a menu that I thought was a joke but it was real and the burgers were $1.20 and fries were 80 cents.
And sometimes I hate how flat IL is but then I think of that DFW line that goes:
Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.
Which is a very good line, to my ears at least, and I don’t know where I’m going with this except that there’s a real joy in doing things that are overwhelmingly difficult and it brings out emotions and fears and pleasures that I never knew I had, like when you do a new exercise and you get sore in muscles that you never noticed before.
Good night and look up Just Hamburgers if you’re ever in Paxton.
I’m reading through Pmarca’s guide to career planning on this lazy Sunday back home. Excellent throughout and way too much to quote, but some bits that ring especially clear:
The second rule of career planning: Instead of planning your career, focus on developing skills and pursuing opportunities.
I’ll talk a lot about skills development in the next post. But for the rest of this post, I’m going to focus in on the nature of opportunities.
Opportunities are key. I would argue that opportunities fall loosely into two buckets: those that present themselves to you, and those that you go out and create. Both will be hugely important to your career.
Opportunities that present themselves to you are the consequence — at least partially — of being in the right place at the right time. They tend to present themselves when you’re not expecting it — and often when you are engaged in other activities that would seem to preclude you from pursuing them. And they come and go quickly — if you don’t jump all over an opportunity, someone else generally will and it will vanish.
I believe a huge part of what people would like to refer to as “career planning” is being continuously alert to opportunities that present themselves to you spontaneously, when you happen to be in the right place at the right time.
Optimize at all times for being in the most dynamic and exciting pond you can find. That is where the great opportunities can be found.
Colin Powell says, “You know you’re a good leader when people follow you, if only out of curiosity.”
From the Pmarca Guide to Personal Productivity:
Let’s start with a bang: don’t keep a schedule.
He’s crazy, you say!
I’m totally serious. If you pull it off — and in many structured jobs, you simply can’t — this simple tip alone can make a huge difference in productivity.
By not keeping a schedule, I mean: refuse to commit to meetings, appointments, or activities at any set time in any future day.
As a result, you can always work on whatever is most important or most interesting, at any time.
Want to spend all day writing a research report? Do it!
Want to spend all day coding? Do it!
Want to spend all day at the cafe down the street reading a book on personal productivity? Do it!
When someone emails or calls to say, “Let’s meet on Tuesday at 3”, the appropriate response is: “I’m not keeping a schedule for 2007, so I can’t commit to that, but give me a call on Tuesday at 2:45 and if I’m available, I’ll meet with you.”
Or, if it’s important, say, “You know what, let’s meet right now.”
Clearly this only works if you can get away with it. If you have a structured job, a structured job environment, or you’re a CEO, it will be hard to pull off.
But if you can do it, it’s really liberating, and will lead to far higher productivity than almost any other tactic you can try.
As of last week, I’m self-employed and doing a version of this, along with some strategies I’ve picked up from Deep Work. I love it. My dream isn’t to retire and live on a beach; it’s to have the freedom to work on what I want, when I want.
For the past few years I have been influenced by Lubitsch, whose very special twist of mind fascinates me, the more so since he has been gradually forgotten after having exerted an enormous influence at the time… This consists in arriving at things roundabout, in asking oneself: “Given that you have a particular situation to get across to the public, what will be the most indirect, most intriguing way of presenting it?“
Francois Truffaut (from Truffaut by Truffaut)
Lets say that if one loves cinema as an escape mechanism, well, one escapes ten times more in a Hitchcock film because it’s better narrated. He tells modern stories, stories of ordinary people to whom extraordinary things happen. Don’t forget that I grew up in fear and that Hitchcock is the filmmaker of fear. You enter into his films as into a dream of great beauty of form, so harmonious, so natural… I admired Hitchcock very early and I got into the habit of seeing his films many times, and later, when I made films, I came to realize that, when I had difficulties in directing, it was by thinking of Hitchcock that I could find solutions.
— Francois Truffaut (from Truffaut by Truffaut).
I’m cleaning out Evernote on this Labor Day and posting some stuff. I basically use this blog as an archive of the things that I’ve read or found that I want to remember later. So if it helps you, then bang on, as my English friend says.
Accidental Wes Anderson. People on Reddit post photos of real places that look like sets or frames from Wes Anderson movies.
Screenwriters: How Not to Get an Agent. Quotes excerpted from a great interview with an agent by John and Craig on an episode of Scriptnotes. This one really opened my eyes about the (lack of) value of 99% of screenwriting contests. Most of them are a way to make money for someone that can’t help you. Some of them have intangible benefits that might help you improve your writing but won’t help you get representation or sell a script.
How to Become Insanely Well-Connected. Good article on networking with practical and non-sleazy advice.
Art is fire plus algebra.
I found this quote in a book that wasn’t amazing but did have this quote, which is good.1
When I started writing feature screenplays, I was struck with how much engineering was in the work of crafting a story. Here’s how I think the drafting process breaks down, alternating between imagination and craft, fire and algebra, open mind vs editing mind.
First draft: fire
Rewriting: algebra + fire, depending on what’s going on. Usually mostly algebra unless I go too far in one direction and over-engineer things so I have to go back and find the thing that made me love it in the first place.
I wonder about the efficacy of quoting a great writer in an average book. A lot of times it just makes me realize that I’d rather be reading a better writer and I put the book down and find something better to read. ↩
Now for the matter of drive. You observe that most great scientists have tremendous drive. I worked for ten years with John Tukey at Bell Labs. He had tremendous drive. One day about three or four years after I joined, I discovered that John Tukey was slightly younger than I was. John was a genius and I clearly was not. Well I went storming into Bode’s office and said, “How can anybody my age know as much as John Tukey does?” He leaned back in his chair, put his hands behind his head, grinned slightly, and said, “You would be surprised Hamming, how much you would know if you worked as hard as he did that many years.” I simply slunk out of the office!
What Bode was saying was this: “Knowledge and productivity are like compound interest.” Given two people of approximately the same ability and one person who works ten percent more than the other, the latter will more than twice outproduce the former. The more you know, the more you learn; the more you learn, the more you can do; the more you can do, the more the opportunity – it is very much like compound interest. I don’t want to give you a rate, but it is a very high rate. Given two people with exactly the same ability, the one person who manages day in and day out to get in one more hour of thinking will be tremendously more productive over a lifetime. I took Bode’s remark to heart; I spent a good deal more of my time for some years trying to work a bit harder and I found, in fact, I could get more work done. I don’t like to say it in front of my wife, but I did sort of neglect her sometimes; I needed to study. You have to neglect things if you intend to get what you want done. There’s no question about this.
I never thought about it this way, in terms of compound interest, but I have felt that there was an advantage to writing every day for an hour, that it was much more effective than writing only a couple times a week or just writing when “inspiration” (hah) strikes.
The hardest and in my opinion, most important, part of filmmaking is the script (improvised work aside), so it makes sense to me that that’s where you would want to focus your most precious energy and time, day in and day out, because that’s where the biggest returns will be. The ratio of (indie) films with good production value but poor writing to great scripts with poor production value is very high in my opinion. This seems somewhat backwards to me, as production value costs a lot of money but writing costs only time and most of us are broke or don’t have access to a lot of money, but we can all squeeze out an hour a day to write, if we look hard enough. Not that I’ve written anything great yet.