MY METHOD OF WORKING pt 2

I’ve come to the conclusion that as a filmmaker, I don’t enjoy undertaking the filmmaking processes for each of the short films I have made because I find it very stressful. Rather than creating films for enjoyment, filmmaking is almost like a catharsis for me as I’m usually inspired by my desire to recreate observation, experiences or to create something new I haven’t seen or experienced before. Ultimately, it’s the final edited result that I look forward to when making a short film. Its additionally strange for me to admit that each time I have made a film which I have been pleased with, it was created in a strictly controlled and rather un enjoyable environment, as opposed to the few instances where I rather enjoyed the filmmaking process whilst creating films which I have gone to hate.

I really want to be able to make great films, however I want be able to enjoy the filmmaking stages from pre to post production, when tackling such projects. Therefore, for the short film I intend to create for this course, I have decided to experiment with the notions of filmmaking by simplifying all production processes to ensure not only a more enjoyable, but also a more natural shoot. I believe I can achieve this by restricting myself to focus only on the visuals to create my film with an enormous emphasis on imagery to provoke emotion rather than constructing the film traditionally, in a way where we heavily depend on the elements that consist of the various filmmaking processes. Processes such as story/ script development, intense auditioning/ casting, storyboarding and intense rehearsals with the cast and crew. In other words I want majority of my film to be conceived naturally in the heat of the moment when I’m on location and ready to shoot.

I credit my motivation to create my film with the utilization of this method (or a lack of a substantial method), as a consequence of being inspired by independent art-house cinema, such as the films from acclaimed filmmakers Gaspar Noe and Harmony Korine. In Particular, majority of my inspiration originates from viewing Noe’s controversial films Irreversible (2002) and Enter the Void (2009). It’s evident that from the French director’s utilization of extreme graphically vivid and powerful imagery, it effectively fills the void for the lack of complex narrative progression and storyline throughout his films. It’s obvious, that much like art, Noe’s films are crated with a strong emphasis and focus on visuals that encapsulate the essence of his films, which stimulates audiences and instantaneously provokes viewers to see and feel something from his visual work.

In conclusion, my aim for this task isn’t necessarily to achieve the highest quality film, rather to experiment with the processes of filmmaking in order to understand and develop my own style of creating good films which are hopefully more enjoyable to produce.