The notion of successful fashion designer Tom Ford as a revered film director might have struck people as surprising or odd, but I say only this - why not?Still in Australian cinemas, Ford's directorial debut, A Single Man, proves conclusively that a lifelong concern with the surface of things, with style and all things supposedly superficial, is no barrier to a highly developed sense of cinematic style as the outward expression of a deeply felt concern for interior human emotion.
To anyone who has not seen the film, I say this: see it. To those who have, I use only two words: sleeping bag.
What an incredible scene; what a terrific example of how to turn what might seem inescapably depressing material (man mourning the loss of his partner in an accident becomes suicidal) into a rivetingly complex viewing experience. Wicked black comedy and deeply moving pathos are all wrapped up inside Colin Firth's sleeping bag and fighting for domination.
I confess to a nagging feeling that the usually estimable Julianne Moore was auditioning for the lead role in the first Austine Powers at times. That mixture of groovy-baby '60s couture and frustratingly almost spot-on middle class English accent was enough to jolt me just a tad out of the film's reality in her scenes.I didn't say the film was perfect, then. But as a debut it's impressive.
All of which is by way of linking to a piece I wrote for The Australian and published at the weekend. My theme: the extreme diversity of professional backgrounds that can lead someone to becoming an outstanding film director.
The only thing that can be said about a suitable preparation for great directors is that it needs to have allowed them to nurture their creativity. The exact nature of that creative field may not be a deciding factor.
Extract:
"Since cinema is a medium combining many practices - sound, visual design, storytelling, costumes, photography, drama, acting - artists with visual and story sense and strong leadership qualities have a better than average chance of rising to the directorial occasion.
Image: Tom Ford on set.
9 comments:
It's true that anyone can pick up a camera and start shooting if they're imaginative. But I think film school is important to get the basics skills or else the filming process will be much harder or you will require a lot of help from other people.
Tom Ford's A Single Man sounds interesting. I hope to check it out before it closes.
When reading your article, I first thought of Schnabel, and then I saw you listed him last. His The Diving Bell and the Butterfly is certainly inventive and perhaps demonstrates the creative and lateral thinking of an artist as opposed to a trained film-maker. I'm surprised you haven't mentioned David Lynch, also an artist who almost accidentally fell into film because he wanted to animate his art.
I was planning not to see this film, because the trailer gave the impression that Firth was reprising his glum role in Winterbottom's Genova (which is effective, though not remarkable). On your recommendation, Lynden, I gave the film a go and yes, Firth is reprising that role, more or less. People have raved about his performance, which is perhaps the best I've seen him - not that that's saying much because he normally imitates a door. Too much is made of an actor's ability to induce tears before the camera. It might be impressive, but it sometimes becomes little more than a party trick (and I'm thinking of Penelope Cruz here).
In this film's case, the acting is fine. I actually liked Julianne Moore's pommy rendition but I was amused by your Austin Powers reference. What makes the film so watchable, however, is all to do with the film's construct and style and less to do with the acting. I kept thinking of Schnabel's The Diving Bell and the Butterfly - the unconventional approach to how the image is framed and how the story is constructed. I don't think it's a substantial film, but definitely worth watching. It could be accused of style over substance, but I'd say the style is the substance.
Oh Bollocks Bernard! I applied to every film school of any repute in the country and was knocked back,multiple times, I actually told one panel in my final interview " You know what, it just dawned on me, all these years I've spent trying to get in here, now I'm actually close, I've realised, I'm sorry..thanks for your time, I'm not interested" and I stood up and walked out.. except when I applied for a screenwriting course, I was accepted, spent a month hanging out with other writers, talking about writing and quit. Writing is writing not talking about it. Writing is rejection and failure and knowing when to be hard and soft on yourself, its about listening to the bullshit detector and knowing when not to. Mostly its about failure. I then went to work on a very large American production, was promoted to the camera team and it was there that I learnt how to make films, watching an oscar nominated DOP work and talking with him I learnt an enomrous amount, not just about framing but art direction, everything. I now work as a scriptwriter and I'm about to Direct a short...everything I learnt about writing I learnt from painting and reading lots of books and lots of scripts. Everything I learnt about filmmaking, I learnt from watching talented professionals work and some dickhead directors screwing their film. Watching lots of films, over and over again, sometimes while reading the script. Film Schools, teach the technical, but what they don't teach, from my experience with collaborations, is how to create drama, how to write it, how to question it and how to keep on questioning the nature of the narrative one is working on. P.T Anderson's views on film school are legendary. You are spot on Lynden, get creative and live..and fuck up! Thats what I always say and always will..and get passionate! For fucks sake get passionate..and a little crazy
Thanks for that passionate comment,Lord Macguffin. I'd never say that people should NOT go to film school on principle (clearly it wasn't for you and I respect that). But I do believe that it's by no means the only route, merely one among many, and should never be allowed to take away from the role of experience, getting to know talented creatives and learning from them, observing the mistakes of others and yourself. Et cetera.
Some of the best filmmakers have gone to film school, there's no doubting that, any education is a step forward, might not be the direction of forward you imagined, but its a step. There is something wrong with our film schools though. AFTRS has recognised this and admitted to such, they now have a robust writing program, not sure what the VCA offer. I really do think we are on the verge of a bit of a new wave in this country, filmmakers just need to be honest with themselves:
Can I actually write?
Should I get a screenwriter involved?
If I think I can write am I prepared to say: "My first idea needs to be as good as my tenth, if I can answer that honestly, then I can move towards writing an evolving narrative" If not get a writer in on the project.
Too many writer/directors smother their ideas with affection not trusting that another idea, equally as good, if not better is just around the corner..its a juvenile approach, fostered under years of solidified teaching that had a constant mantra " Yes you're special and talented"..even if you don't want to really learn the craft.."Just express yourself". This fluffy, motherly approach to education, especially within the arts bred (and to some degree still is) a generation of egomanic riddled brats..whom the paying audience finally gave a kick up the behind, by turning away in droves.
Macguffin, your LORDSHIP: A short recommendation from me of the RMIT screenwriting course. Working through a massive pile of scripts from previously unproduced writers a couple of years ago I was struck by how many of the better ones had come through that course.
There was nothing wrong with the course, it was just me in it. The process of discussing writing just didn't gel with my approach and I felt that talking about writing was taking the mystery out of the process, there is something to be learnt from trying and failing, discovering on your own..for some people being guided down the path works...for me, I strongly felt it was corrupting my style. That said I do employ a script coach, who acts as an independent collaborator..that process works for me...but not for others.
I'll flag a conflict of interest here (as a teacher), but for those who want experience on a lot of shorts in a variety of roles, there are a lot of films made at Sydney Film School. Because every student makes their own thesis film as well as participating in major class productions, about 120 got made last year, and more will be made this year. Particularly in the second half of the year. People have to make the most of the opportunity, for sure, but it's a relatively production heavy environment in which to try things out.
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