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| Page still in contruction. . .please check back later Thank you! |
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| The entertainment industry is and always has been a constant network of devotional labor, and without a vision, there is no product. Most filmmakers are not in it for purely monastic reasons. The thrill of creating a story is what they love to do. Some can�t keep their hands off of it, day and night, even though the task may be grueling and draining. Some studios, including Bruckheimer Productions, are known for large budget, action features, while other such as Focus Features have a reputation for more independent style, dramatic films. Either way, the basis of it all is the level of connection between the workers and the hive. | ||||||||||||||||||||||||
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| If you know anything about anywhere, you should know by know that most studio related correlation starts with Los Angeles or New York, but this doesn�t mean that films are restricted to these two cities. Places like Texas and Colorado are becoming widely known for their film festivals, as well as exhibiting emerging filmmakers. Movies are an international sensation, making millions of dollars, and intriguing people despite language barriers. Mexico has funded projects with respected directors such as Robert Rodriguez, Alfonso Cuaron, and Alejandro Gonzalez In?aritu. New Zealand gave birth to Peter Jackson and Niki Caro. India�s �Bollywood�, Japan, and all of Europe are producing their own stylistic approach to filmmaking. Anyone can make a movie if they have the creative drive, but there is no denying that netting through communities, whether it be studio or school related, is the best way to go. �Materializing your inspiration is what gets you noticed,� says DP Elliot Davis (MovieMaker.com). Sometimes the sprout will turn out different that the seed, but a reason must be there, despite critics and cynicism. There is a constant debate about the intrinsic value of certain films and it all comes down to whether you, as a person, �liked� it or not. Humanity has sundry tastes, but whether or not it appealed to you is of your own opinion, but critics tend to override the majority. �If I have to worry about the audience,� says Beno�t Delhomme, �I might as well stop making films� (MovieMaker.com). | ||||||||||||||||||||||||
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| The two major separations this industry likes to categorize film in are �studio� and �independent�. Documentaries are usually on the independent pedestal, but can reach prestige at film festivals like Sundance or Telluride. Film festivals are where independents are recognized and optioned by larger studios to be distributed. People who have already earned themselves a reputation, such as Sofia Coppola, Clint Eastwood, or Steven Spielberg, have the opportunity to produce their own features, but lesser known filmmakers need to have that first contact in order to move onto bigger and better things. Independents have more control over their movie, whereas you �HAVE to listen to the studio in order to satisfy the studio� (Kadin) when working with Paramount, MGM, etc. There is no in-depth debate over actors or creative interpretation. A studio is a company, not a mother, and they will wield their investment as any other company would. If a studio feels a movie is going in the wrong direction, they have the option to curve the path it will take. This is where festivals and screenings come in. Filmmakers can create the movie they want using grants from film commissions, donations, or just personal pocket money, then send it off to screenings at festivals, where they might get an award or the opportunity to acquire distribution under a studio name without having to pay off the cost. These are meet and greet areas, where a filmmaker can learn what it takes to �make it�. For some, it feels inbred, and others have to struggle with the concept of what they want to do, but in the end most filmmakers end up working on projects that they attune to easily. | ||||||||||||||||||||||||
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| �I don�t know about a work of art, but to do good work as a story teller, you must stay a contemporary human being every way, so you can communicate with audiences through images they will feel and understand on emotional and intellectual levels, and that doesn�t mean aiming for the lowest common denominator�(Hall, par 34). | ||||||||||||||||||||||||