THE PEN IS MIGHTIER THAN THE CAMERA

As a rabid believer in the cult of DIY filmmaking, I found Craig Mazin's Nov 5 post, "A Widening Chasm Part II" over at Artful Writer to be particularly relevant. The blog in general is wonderfully revolutionary, advocating strategies for empowering the much neglected screenwriter. And the reason I find the Widening Chasm post particularly prescient is that it's speaking of a trend which dovetails so well (and probably not so coincidentally) with the "democratization of filmmaking" (i.e., the notion that soon anyone can get their hands on a good "film" camera and editing system). Mazin discusses the recent shift in film financing models wherein risk averse studios are being "scooped" by private financiers on some of the most creatively interesting projects. An artist like Sacha Baron Cohen, for example, is retaining control both creatively and financially by using private financing to produce his next film, which he will then in turn SELL to a studio which can still do a handy job of marketing and distribution. Mazin points out that the trend is growing. It's a model that allows a writer and director to package their own film and retain greatly increased creative and financial control (to the tune of millions more right into the artist's pocket).

For me, it's exciting to read about artists owning their work, but I find it particularly interesting that this shift in film financing coincides with the digital revolution, which is putting video cameras in everyone's hands. While many blogs herald the increased power to filmmakers as a result of the digital revolution (even the likes of Atom Egoyan state that he'll simply make his films using digital means if a studio were to ever threaten his final cut authority), in fact it's the writers who stand to benefit the most. And here's why.

In the end, when film is so democratized that everyone has access to a good "film" camera, it's the writer (who may also be the director, but often is not) who will be revealed as the rarest commodity. Yes, Hollywood and stars and big-shot directors have long declared their devotion to "good material," but the fact is writers are treated like shite. To paraphrase Joe Esterhas, Hollywood accepts the adage that "nobody knows anything," but everyone still thinks they know everything about screenwriting. You see, screenwriting, well it's just typing after all. Or failing that, we all know how to print in block letters with a crayon (thank you Mrs. Rumsey, I loved kindergarten). Yes, the talented writer has always been rare, but apparently not so rare that he doesn't take a serious back seat to "the money" (that is, people in suits who control the millions of dollars traditionally required to secure the necessary crews and equipment to make a film). Certainly, writers have been considered much less important than the director who does technically baffling magic tricks with cinematographic machines and dangerously hot lights. Ah, but the financial barriers controlled by the studios are eroding--the Avid suite that once cost a million bucks can now be had for the price of a thousand dollar PC and some pirated software. And the mystery of the directors' tools is eroding too. How ironic that in the end, it's the humble quill pen that could win out. That's my prediction.

Because soon every kid in school will be able to shoot pretty pictures with the visual lattitude and dreamy resolution of 35mm film (just check out the Red Camera). Oh, and the same high school kid can add stunning Hollywood-level visual effects right from his home computer too. The necessary equipment simply gets more powerful and cheaper every day. I believe that in the near future, everyone will try her hand at filmmaking--at least once, and probably dismally--just as I'm sure every last literate human has at least tried to write a novel, only to get no further than the first paragraph. I think the demand for stories will only go up as the number of films being produced increases exponentially too. Finally, all the lovely moving images which so many aspiring filmmakers are churning out daily will highlight more than ever how a film needs a great writer. It will be the product with brilliant writing that will stand out, not so much the product with production values. You see, everyone will have production values.

Of course, a talented cinematographer is a talent to behhold, but I have a feeling that cameras and the directors who wield them will soon be relegated to that place where they're seen as a little more "replaceable"--the same corner where writers have cowered so long--and maybe the mighty pen will assume its rightful place at last.

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