Movie Maker - USA (2020 - Spring)

MOVIEMAKER.COM SPRING 2020 77

DeSales.edu/TVFilm Center Valley, PA

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A Career in TeleVision & Film
is waiting for you at DSU!
NYC FILM SCHOOL
OnSET
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PIPELINE ENTERTAINMENT
Upon completion we will help place you in the marketplace
via our partners at EMMY AWARD WINNING
In year 1 you will learn the business and the creative
via exclusive access to industry professionals
-- It’s like paying for Film School, and the Film School pays you back --
LEARN FROM THOSE WHO DO - OWN YOUR EDUCATION
Your tuition is a 100% (+15%) recoupable investment in that film
End of year 1 you will hands-on PRODUCE a feature film
from script to distribution on the screen
THINGS I’VE LEARNED
AS A MOVIEMAKER

7. Today, what has affected both
   audiences and modern cinema is the
   language of commercials. These
   films are successful, but they
   don’t prove their existence in
   time. Hollywood accepts them,
   but if they don’t make enough
   money, they sink. It’s because
   they don’t build their own
   language.


8. It’s not just about making a story
   as dynamic as the producer wants
   you to in order to keep the audience
   seated for one-and-a-half to
   two hours—which comes from
   the old idea that Hollywood
   defeated French cinema because
   of explosions, timed every three
   minutes in the movie, and
   French cinema had too much
   talking—which by the way is
   true.


9. When I started making mov-
   ies I believed that the marriage
   between commercial and artistic cin-
   ema was possible. This is because
   I grew up on old-fashioned
   Soviet cinema, great Czech
   cinema, and great American
   cinema of the ’70s.


10. We need to explore the central
    nervous system that a hero in a film
    exposes. Hollywood is avoiding
    this—they don’t want to dive
    into the substance of life and
    political opinion. They’re now
    creating politically correct cin-
    ema. The generators of ideology
    or power want cinema not to
    be something that disturbs, but
    rather for it to enact a sort of so-
    cial harmony they want to see.
    Moviemakers now accept the
    language that is determined not
    by the beat of your heart, but by
    the perception of the audience,
    who have been affected heavily
    by the language of commercials.


11. We have to admit that
    cinema was always a part of
    mythology. Hollywood was a
    generator of great idealism,

which was called the Ameri-

can Dream. The American

Dream does not exist—it is a

part of the utopia of the past.

Hollywood needs to find its

own approach to the fact that

we don’t have the American

Dream anymore. The Ameri-

can way of life is accepted

widely all over the world, but

the problem is that we have

to follow the values and un-

derstand how much we have

degraded values and how

much we have deeply stepped

in the shit, in order to not be

following reality, but instead

reacting to reality in the way

that we used to do in the best

manner.

12. The problem today is you
    don’t have superiority of author-
    ship. Twenty years ago, when
    somebody says Scorsese, you
    understand all aspects of
    cinema and human life that are
    mixed in one person. When my
    generation vanishes, you will
    have some new revolutionary
    authors who are going to take
    the cinema into their hands. To-
    day we have good films, but we
    don’t have personalities who are
    setting the tone of cinema. But
    I hope this is not going to last
    long until we get new ones—
    until we get some wave of new
    young American directors who
    will give us another portion of
    great American cinema from
    the ’70s.


13. Like it or not, YouTube has
    become one of the pieces of our
    optical world. And this could be
    negative for cinema or could be
    positive, in a sense of develop-
    ing a new vision of the world.


14. The problem in cinema is
    when we speak about some
    films, we speak about what
    we’ve seen, but for what we’ve
    seen to have consequences on our
    thoughts? Only a master can create
    this. MM

(CONTINUED FROM PG. 80)