Regarding Various Filmmaking Manifestos

I think that, in regards to filmmaking, manifestos can be quite useful. I feel like with each year, films become more and more style, and less and less substance. And when I say “style,” I don’t really mean stylistic editing or narrative techniques, I mean visual effects, 3D animation, computer generation. I own a book—which, I confess, I haven’t yet finished—entitled “Film as Art.” This book, written in 1933, operates on the simple premise that mechanical advancements are killing the artistry of film, and it’s the limitations of the medium that contribute to making it art. Keep in mind that this was written back in 1933. I think that this thesis is even more true today. People left Avatar lauding the vast, immersive world Cameron created, proudly stating that it was one of the best films they’d ever seen.

Best films? 

Did they see the same movie I did?

While the world of Pandora was rendered in grandiose 3D, the characters that inhabited it were quite flat. I have no problem with the people that say it’s bad because the storyline is basically Fern Gully, Pocahontas, or Dances with Wolves; however, I think that these people are, to a certain degree, missing the point. Yes, it’s a re-hash of other stories that have been done better, but Avatar’s biggest crime is continuing to push the idea that visual effects are important in determining whether or not a film is good, and, in some cases, visual effects can make up for poor character development, writing, or acting. 

With these ideas in mind, it’s not hard to see why I was initially drawn to Dogme 95. The “Vow of Chastity” set out to purify film, by excising many features of features (oho! wordplay) that tend to detract from the story and actors. Although I do enjoy the thought behind Dogme 95, I feel that some “requirements” are ridiculous, such as not crediting the director, the format of the film, and the allowed movement of the camera.

From Dogme 95, I stumbled onto another film manifesto which is a sort-of reaction to Dogme 95. Jesse Richard’s Remodernist Film Manifesto set out to create a “new spirituality in cinema,” through a focus on humanity. I highly recommend reading Richard’s manifesto, as it was quite an inspiring experience for me. It’s focus on honesty throughout the entire filmmaking process is something which I really admire. 

As it is the beginning of a New Year, I think that I will start out by posting my own filmmaking manifesto, of sorts. This manifesto draws upon my personal ideas about film and art, Aristotle’s Poetics, my experiences in theatre, and the intentions of Dogme 95 and the Remodernist film movement.

I have thought of naming this something clever, such as the Creed of Candor, or something like that, ya know, alliterative and stuff, but I have decided that names are not important. It is the ideas which are important, and so that is what I’ll focus on.

1. Filmmaking should be honest, sincere, and real. While films are (generally) works of fiction, and settings/storylines can be fantastic and magical, the characters’ dialogue, motives, and actions should be genuine. The actor’s greatest asset is his intuition, and the same can be said for the director, writer, etc. Every member of the creative team needs to be honest to themselves in order to ensure an honest film. 
2. An emphasis on Plot, Character, and Theme is necessary to creating genuine films. It is Plot that differentiates one film from others, while the Characters and Theme(s) ensure that it is universally relatable.
3. The video camera is a tool for creation, and does not enable the holder a master, professional, cinematographer, photographer, or filmmaker. Technical specifications should have little bearing on the overall aesthetics, or quality, of a piece. If one’s motives are to create a technical masterpiece, then they will have no way of giving enough attention to the aspects of a film (as enumerated in Point B) which can be totally honest.
4. The Internet has created a proliferation of mediocrity in regards to film. The digital age, and websites like YouTube, have allowed anyone and everyone to create movies and share them with the world. A true filmmaker does not accept mediocrity in any aspect of film; he strives for creative excellence and authenticity. 
5. While special effects, make-up, visual effects, and lighting may be necessary in keeping with the artistic vision, they should never be employed in such a way that obscures sincerity. Rather, they should serve to augment the authenticity of the emotions and theme of a film.
6. The motives of a filmmaker should not be related to money or fame. A true filmmaker creates as a form of expression, and because of a desire to create. His creative impulses are passionate, and uncontrollable, and the medium of film is his chosen outlet for such urges.

LOVE,

BRENT