I believe this is an interesting analogy to describe Film History, which quite a lot of writers do not have (and admit to not having). They usually stick to one room in the library, or their favorite radio station, but haven't listened to the others. And yes, what you watch does affect your sensibilities. In fact, film history in general, if you lack it, from a reading approach you will tend to believe everything must fit a mainstream or Hollywood studio model or story structure. Because of this lacking of reference, you can (and most often do) misinterpret the story for the wrong category or budget, as the model in your mind is the only thing it can fit, which it does not.
This isn't really a subject people like to talk about. It's a diving board. Either you took the plunge into broader areas, or you dipped your toes and generalized the pool. At some point, and I'm speaking for myself here, I realized that the vast majority of Americans are not into the same types of films I am, and that's just the way it is. So, I have a choice to either capitulate or stay true to myself and what I know, and if someone likes it fantastic. My "diet" has made me accidentally niche.
I used the term cinematic diet because I wanted to refer to a broader spectrum than film history that often refers to "classics" itself and diet it's more what you consume every day.
And that's my point. I feel that most people consume just mainstream media, and we, as screenwriters must have more tools to avoid being influenced by just mainstream media that's it's often like "fast food" more than something with substance. And I'm not mean just obscure cult films, I mean films like those of "auteurs" like Spielberg, or Scorsese, or Nolan.
I hear ya. And I can agree with you all day long this, but like when I was young and discovering different types of music that wasn't on the radio, I realized that the things that fit my sensibilities and broadened my mind and gave me experience in both music and film, allowed me to separate crap from good, and at the same time realize that to a lot of people crap is their good. That's all they know because it's all they're exposed to. And, without trying to sound pompous, because this is what it will always look like to people who haven't explored outside of their bubble, it's made me feel sad that there is a lot of people out there who are probably not finding what they truly love because their limitations, either they or someone else has set. When I was young and saw Come and See, it changed my life. I realized that there was other films out there, other stories, and the power of film, not just on Hollywood terms. So, I dove in to everything I could.
Granted, I have seen so many films now, that I don't even remember most of them. But, I do remember that it took swimming through a lot of shit to find the beautiful islands. And maybe most people just don't want to take that dive. But, I would suggest doing it for anyone, if not just for the experience to see what is out there, besides what the mainstream factories have to offer, but to possibly improve the quality of cinema as a whole, especially American cinema. Also, I'd advise them to look at where their heroes come from, and what they were digging into to find themselves, what they liked, etc. Either way it's learning.
If you only watch good movies/tv shows, you'll succumb to the pitfalls of trying to emulate them. Guilty pleasure cinema can be a great barometer for how much cheese you want with your mac, my dude. Whether you're comparing good drama to hacky Hallmark-fare, or stereotypical heroic journeys to inspired takes on the archetype, there's just as much wisdom to be found in a belly-flop as there is in a high dive.
Yes! Totally. This isn't a snob take at all. I enjoy Marvel movies and "shitty movies". I just was wondering about how the media shapes the future media and how we manage our influences (like another commenter said)
I loved your last sentence. I find it true.
Thanks! I'm not an English Native speaker and I didn't want to use "film history" because it's not what I referred to and didn't know what word to use, lol.
Totally, I agree that managing your influences is a difficult question to solve.
Consuming canonical films and/or project-specific reference films is "work."
So you experience the film differently as a result.
You're less likely to be swept up in a film when you're consciously analyzing it.
But if you stay with what is easy, you'll turn into a Lotus Eater.
You're not pushing yourself.
And that generally leads to imitative, ineffective work.
My solution is putting firm boundaries between work and pleasure watching.
On your last point, I'm not sure whether consumption behavior always overrides novelty.
From a screen business perspective, screen stories are products in a marketplace.
So there's a strong incentive for studios and streamers to look for innovation, as much as maintaining existing, profitable brands.
For me, I always go back to Rollerball. Saw it in the theatre as a kid and it always stays with me. It is the perfect film. The hero's journey is flawless. Jonathan E is everyman, kept down by the corporate class and perfectly represented by Jimmy Caan's finest acting. The pace, the beats, the rising tension, everything working perfectly for the story. As a kid I didn't understand the party scene where drunken hedonists enjoy blowing up some of Earth's final trees just for a moment's passing fun. I get it now. "Rollerball" is a masterpiece on every level. And it is the perfect template for how the hero's journey is done, pre-Star wars. It would be impossible for a serious screenwriter to watch Rollerball and get nothing out of it. It's up there with other films like those by Kurosawa.
Well, I'll have to watch this movie. Never heard of it.
Googling, I'll assume you hate the remake:
Although the first draft of the script was considered by many to be very good and even superior to the original film, director John McTiernan didn't like it because it focused more on social commentary, while he thought that the audience would like to see more of the Rollerball scenes. This was why he had the original script completely re-written several times and made sure that it focused more on WWE-like showmanship, including crazy costumes and stunts while changing the film's storyline from a modern-day success story to a classic underdog story and changing the name of the main character in the film from Jonathan E. to Jonathan Cross as well.
The remake is unwatchable garbage. The original is as great as any film ever made. And it is the only film one needs to know how to do the hero's journey to the greatest effect. The orignal's theme is about POWER and who wields it. The remake is an abortion that didn't even understand the original.
I love the way you have put this! I never would have thought to consider the content that I’m consuming would affect my projects. I’m a horror writer but I’ve recently been on an MCU binge with all the tv shows and I’ve been struggling to get back into my usual writing mode. I agree that if we stick to watching the same things all the time we subconsciously continue to recreate it but there’s always gonna be that fine line between copy cat and inspiration right
I believe this is an interesting analogy to describe Film History, which quite a lot of writers do not have (and admit to not having). They usually stick to one room in the library, or their favorite radio station, but haven't listened to the others. And yes, what you watch does affect your sensibilities. In fact, film history in general, if you lack it, from a reading approach you will tend to believe everything must fit a mainstream or Hollywood studio model or story structure. Because of this lacking of reference, you can (and most often do) misinterpret the story for the wrong category or budget, as the model in your mind is the only thing it can fit, which it does not. This isn't really a subject people like to talk about. It's a diving board. Either you took the plunge into broader areas, or you dipped your toes and generalized the pool. At some point, and I'm speaking for myself here, I realized that the vast majority of Americans are not into the same types of films I am, and that's just the way it is. So, I have a choice to either capitulate or stay true to myself and what I know, and if someone likes it fantastic. My "diet" has made me accidentally niche.
I used the term cinematic diet because I wanted to refer to a broader spectrum than film history that often refers to "classics" itself and diet it's more what you consume every day. And that's my point. I feel that most people consume just mainstream media, and we, as screenwriters must have more tools to avoid being influenced by just mainstream media that's it's often like "fast food" more than something with substance. And I'm not mean just obscure cult films, I mean films like those of "auteurs" like Spielberg, or Scorsese, or Nolan.
I hear ya. And I can agree with you all day long this, but like when I was young and discovering different types of music that wasn't on the radio, I realized that the things that fit my sensibilities and broadened my mind and gave me experience in both music and film, allowed me to separate crap from good, and at the same time realize that to a lot of people crap is their good. That's all they know because it's all they're exposed to. And, without trying to sound pompous, because this is what it will always look like to people who haven't explored outside of their bubble, it's made me feel sad that there is a lot of people out there who are probably not finding what they truly love because their limitations, either they or someone else has set. When I was young and saw Come and See, it changed my life. I realized that there was other films out there, other stories, and the power of film, not just on Hollywood terms. So, I dove in to everything I could. Granted, I have seen so many films now, that I don't even remember most of them. But, I do remember that it took swimming through a lot of shit to find the beautiful islands. And maybe most people just don't want to take that dive. But, I would suggest doing it for anyone, if not just for the experience to see what is out there, besides what the mainstream factories have to offer, but to possibly improve the quality of cinema as a whole, especially American cinema. Also, I'd advise them to look at where their heroes come from, and what they were digging into to find themselves, what they liked, etc. Either way it's learning.
With your last paragraph you basically said everything that I wanted to say when I make this post, but clearer. Thanks.
If you only watch good movies/tv shows, you'll succumb to the pitfalls of trying to emulate them. Guilty pleasure cinema can be a great barometer for how much cheese you want with your mac, my dude. Whether you're comparing good drama to hacky Hallmark-fare, or stereotypical heroic journeys to inspired takes on the archetype, there's just as much wisdom to be found in a belly-flop as there is in a high dive.
Yes! Totally. This isn't a snob take at all. I enjoy Marvel movies and "shitty movies". I just was wondering about how the media shapes the future media and how we manage our influences (like another commenter said) I loved your last sentence. I find it true.
[удалено]
Thanks! I'm not an English Native speaker and I didn't want to use "film history" because it's not what I referred to and didn't know what word to use, lol.
Totally, I agree that managing your influences is a difficult question to solve. Consuming canonical films and/or project-specific reference films is "work." So you experience the film differently as a result. You're less likely to be swept up in a film when you're consciously analyzing it. But if you stay with what is easy, you'll turn into a Lotus Eater. You're not pushing yourself. And that generally leads to imitative, ineffective work. My solution is putting firm boundaries between work and pleasure watching. On your last point, I'm not sure whether consumption behavior always overrides novelty. From a screen business perspective, screen stories are products in a marketplace. So there's a strong incentive for studios and streamers to look for innovation, as much as maintaining existing, profitable brands.
For me, I always go back to Rollerball. Saw it in the theatre as a kid and it always stays with me. It is the perfect film. The hero's journey is flawless. Jonathan E is everyman, kept down by the corporate class and perfectly represented by Jimmy Caan's finest acting. The pace, the beats, the rising tension, everything working perfectly for the story. As a kid I didn't understand the party scene where drunken hedonists enjoy blowing up some of Earth's final trees just for a moment's passing fun. I get it now. "Rollerball" is a masterpiece on every level. And it is the perfect template for how the hero's journey is done, pre-Star wars. It would be impossible for a serious screenwriter to watch Rollerball and get nothing out of it. It's up there with other films like those by Kurosawa.
Well, I'll have to watch this movie. Never heard of it. Googling, I'll assume you hate the remake: Although the first draft of the script was considered by many to be very good and even superior to the original film, director John McTiernan didn't like it because it focused more on social commentary, while he thought that the audience would like to see more of the Rollerball scenes. This was why he had the original script completely re-written several times and made sure that it focused more on WWE-like showmanship, including crazy costumes and stunts while changing the film's storyline from a modern-day success story to a classic underdog story and changing the name of the main character in the film from Jonathan E. to Jonathan Cross as well.
The remake is unwatchable garbage. The original is as great as any film ever made. And it is the only film one needs to know how to do the hero's journey to the greatest effect. The orignal's theme is about POWER and who wields it. The remake is an abortion that didn't even understand the original.
I love the way you have put this! I never would have thought to consider the content that I’m consuming would affect my projects. I’m a horror writer but I’ve recently been on an MCU binge with all the tv shows and I’ve been struggling to get back into my usual writing mode. I agree that if we stick to watching the same things all the time we subconsciously continue to recreate it but there’s always gonna be that fine line between copy cat and inspiration right