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They seek it for acceptance... To be the "ONE" who breaks the mold and changes things up. They seek it for the same reasons many buy lottery tickets each week even... For the chance that "maybe" their voice will or could be heard by more than their immediate arms length of contacts.
People, as much as they say they don't care for the acceptance, still really do want to be known for something. And it doesn't matter if they were liked, loved or hated for that something...
If you look at Hollywood and not just the exterior of it... You'll see that 95% of the industry are made up of self loathing, despicable people who have great charisma. Christian Bale is a good person to bring up right now... That guy is a complete Twat Rash. He's a prick and one of the most intensely rude ass holes I've ever seen. What good has he really ever done? But... people love him. They accept him... He knows he's a strange smack. He knows that, on a personal level, no one could possibly like him and that's fine with him... know why? Cos' people accept him for "something".
This would also probably go hand in foot with the mindset of a serial killer even. As off topic as that would be.
I personally don't think it is either as cynical or psychological as that, although of course it's different for everybody.
I think most people who get into writing or filmmaking in general do it because they like movies and just want to see their ideas on film and share them with other people.
Making movies is in some way like an adult (or at least adolescent) way of continuing to play with toy figures isn't it?
As a kid I would build castles and such for my Star Wars figures and GI Joes (Action Force in the UK) and create whole new world's and stories for them. Long term I want to make those same fantastical stories on film.
Most people, I suspect, think that there just aren't that many movies made that are good enough. We all think we could tell a better story than 99% of the stuff that is out there given a chance.
It's also a great way of meeting people and getting to travel a bit. And yes, there are some nice girls to be met along the way...
Actually, I've changed my mind. You were right all along.
I think it depends on why you write, actually. I'd like to think that it's different for screenwriters than for aspiring actors/directors because they're not usually associated with the big paychecks (remember the WGA strike?), fame and Hollywood lifestyle. I'd hope that people who write with those goals in mind give up about 20 pages into their first screenplay because it's too much work or harder than they were expecting. The realist in me has to side with Baltis though. Screenwriting is just another quick avenue in many's eyes to make their voice heard and get the attention they feel they deserve.
Turning to the thread's original question, I often write by drawing aspects from my own life (people, places, situations, feelings) and would hate to see something so personal flop (try reading some of Charlie Kaufman's interviews on the critical reception for 'Synecdoche, New York.') Could money really fix that?
Now if it was something I was less emotionally invested in, say "Showgirls" as brought up earlier, who wouldn't get a kick out of telling someone you wrote something that went on to be considered one of the worst films ever made? If you got into the business for fame, then even making something terrible can still help you achieve this goal. That's why I think it all goes back to why we write.
As to the earlier challenge in this thread... Charlie Kaufman (one of the few writer/directors who became famous before he was directing), Diablo Cody, Judd Apatow, John August and Paul Haggis (or did he direct 'Crash'?).
Kaufman indeed was very famous before he took to directing. Famous for all the best reasons too: he wrote two great screenplays that people loved, they'll love 'em for a long time to come too. Now to do that or something, even near or on the way would be great. I loved both of those stories so I had high hopes for Synedoche NY. Oh my. Great actors and it started off interesting enough then, what the hell was all that about? I'm still bewildered now. I really don't wanna watch it again yet either.
I just watched Highlander on Blu-Ray (stop sniggering at the back). It has an interview on it with the screenwriter Greg Widen. He wrote it when he was in film school. First script. They brought in two other guys to make it more commercial but the vast majority of his original script remained. The writer made a fortune, saw nearly all of his script brought to life and that film is still loved and watched by many people still to this day. Must be a nice feeling.
"I loved both of those stories so I had high hopes for Synedoche NY. Oh my. Great actors and it started off interesting enough then, what the hell was all that about? I'm still bewildered now. I really don't wanna watch it again yet either."
-- I was unsure of it too after the first watch but I knew more was waiting for me in repeated viewings. I've gone back to it three times since and continually pick up new details, nuances and subtlties interspersed within the subtext as well as gaining a greater understanding of the story and concept as a whole.
Unfortunately, my feeble, little brain cannot articulate how this movie moved and affected me. All I can say is Kaufman has created something very special with this by pentrating further and deeper then ever before into the (to paraphrase Caden) murky, cowardly depths of the lonely, fu?ked human psych. It will, in my worthless opinion, be fully appreciated and cherished more than his previous works, over time.
Oh don't say that Col, I'll have to start thinking about it again. I do remember being ready to burst into tears for the latter half, most unsettling as I didn't even why, and I was in a cinema full of tossers at the time. That does it, I'm gonna watch Highlander again.
You are both reminding me how I need to catch this film.
Out of interest, how would you pitch the film against 'Mulholland Drive'? I'm sure the narratives are not that comparable, but from what I've heard, 'Synecdoche, New York' appears to track similar intellectual/mindf*ck ground as that masterpiece from Lynch.
You are both reminding me how I need to catch this film.
Out of interest, how would you pitch the film against 'Mulholland Drive'? I'm sure the narratives are not that comparable, but from what I've heard, 'Synecdoche, New York' appears to track similar intellectual/mindf*ck ground as that masterpiece from Lynch.
Andrew
Mullholland Drive is brilliant at it's most mindless core even... 1 of the most bizarre and unsettling movies made. It was written with such precision it's crazy how little it is regarded. David Lynch was, is and will always be one of the true greats in the business.
First of all I do love Lynch, his movies always made me feel intrigued and slightly unsettled. Note to self: buy that copy of Inland Empire you keep looking at in the shop then putting back on the shelf. I liked Mulholland Drive, watched it at least three times. It probably made the most sense the first time. I felt Lynch was laying puzzles that couldn't really be solved. I love the strange feelings and emotions of Lynch films like this, I become immersed in a story that I couldn't summarise to save my life.
Synedoodah is a different movie in my mind. I felt like I should understand it, in that it's there to be understood, but I didn't. I thought MH was something I never really should understand or that anyone would. The colonel just stated what I suspected, he's good at that. They're similar in that they aren't your regular plot, far from it. They are gentle and subtle mind fucks. I do know this, they stick in your mind way more than other stuff does.
I loved how you gave a lovely little succinct answer to my question and then as an aside, dropped in the washing machine Q!!
I am indeed, and it was rather difficult getting out. The things we do for girlfriends.
Quoted from Baltis-
Mullholland Drive is brilliant at it's most mindless core even... 1 of the most bizarre and unsettling movies made. It was written with such precision it's crazy how little it is regarded. David Lynch was, is and will always be one of the true greats in the business.
Absolutely. Lynch really crafted a masterpiece there.
Andrew, I try my best. I suppose you should be grateful she didn't switch it on.
Baltis, never figured you for a Lynch fan. It is amazing to think someone like him made so many bizarre movies in the mainstream. Even a tv series. Mulholland Drive did win a museum full of awards and accolades. I think one of his most underrated and hated movies is TW: Fire Walk With Me. I saw that in a cinema in Birmingham UK (don't ask) and people were walking out and throwing things at the screen. The woman I was with didn't speak to me again. Suppose I was lucky she didn't try and wash me.
Ya, I wouldn't compare Mulholland Drive to Synecdoche, New York. Both masterpieces in their own right for different reasons. I need to watch MH again as its been a few years and I've only watched it once.
From what I remember though I was doing a lot more head scratching after MH so I reckon Synec, NY won't throw you off too much. Best thing to do is watch it as soon as you get a chance, make up your own mind.
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