<< That said make your period drama or sci-fi epic, do it on video and you'll still have one film more than critics who complain about a lack of quality image. >> "I don't usually write to the list, but in reading over the latest batch I was surprised to find the above comment." I was surprised to see my comment attract such attention. At heart all I'm trying to do is encourage someone to make a film of whatever kind, of whatever quality on whatever medium. For myself I believe a creative endeavour, successful or not, is an intrinsically admirable thing. And for the record I would consider good media criticism to be equally creative. I realise that critics in general are an easy target and I don't think I was intending to degrade them with my comment. If that is what it did I apologise. At the time I was getting into full flow and enthusing about the process, trying to be as positive as possible. Perhaps I should have been a little more guarded with my comments but to be honest it seems clear to me that I am talking about critics (the kind of person who'll put you down and discouarge you) rather than, for want of a better phrase (And I use it advisedly), those who practice criticism, who are interested in expanding possibilities, forging new links and understandings. The former I see as a reprehensible practice, the latter I find very beneficial. But in the end to be controversial as ever, why can't we criticise critics? Afterall isn't that what they do to us? "It seems that Mr. Devlin is under the illusion that all critics are frustrated filmmakers, and doesn't think that film criticism is a valid aesthetics field." Err no. All critics are obviously not frustrated filmmakers. There are equally valid opionions to be derived from those who have an intimate knowledge of film production and those who have retained a critical distance. In my message I was, I believe, addressing a frustrated filmmaker and not a critic, and therefore my comments were directed accordingly. Film criticism is a valid field of aesthetics, which I actually spent four years studying, and had a pretty good time doing. At the same time I can't pretend to understand the mindset of someone who is interested in film but isn't interested in making them. Now I absolutely do not mean that as a criticism. It could well be a failure in my own conceptions, but as a film fan, a film critic and a filmmaker I love to make films. I don't understand why anyone, not just a critic, would not want to be involved in the process in some way at some time. I just enjoy it. I guess because I do I don't understand why other people don't. "Mr. Devlin's comment seems to reinforce the attitude in film circles, that directing is the height to which all aspire, and that all other aspects of filmmaking are subservient to the direction, and somehow, a less valid pursuit." Oh God please I hope not. I feel like John Hurt in The Elephant Man now, I am not a director, I am a man! In fact I have no aspirations to be a director. I've tried it and I'm shit. I'm sticking to my first love writing, and my learned skill, producing. And of course it is blatantly obvious that a combination of those skills are the very most important when it comes to making a film. I'm not a megalomaniac, and even if I was what could you do about it? I absoultely do not believe that directing is the be all and end all of the filmmaking process. Indeed I believe I commented on the fact that on a small scale project if you want to get people's help, and that is virtually necessary, you need to allow them input into the project. Filmmaking is of course the ultimate collaborative art. Filmmaking on this scale with a tiny budget and crew does not, however fall into the classic paradigm. It is possible for the auteur theory, (a nice peg to hang things on, but not much else) to be realised at this level. That's because one person can write the story, shoot the film, edit it and end up with a product that is entirely their own work. Might not be any good but again my central impulse is congratulations you made something. Making films is tough. If it wasn't there'd be lots more made. You did something difficult. Well done. And don't let anyone tell you "you can't". In my message I was addressing someone who was obviously the only person behind his project. This person, whether director or not, whether it changes or not, was the person whom the rest of the process would be subservient to, because without him/her (sorry can't remember) it wouldn't be happening. "The post process can make video just as expensive as film. If you are looking for a "film look" why not just shoot on film rather than going through elaborate machinations to fake it? In my experience here in Scotland video is cheaper than film - always. I've shot video, I've shot film, I've even shot film and video at the same time. Usually the cost of film stock, equipment, process, conforming, editing, etc. is much more than that of video. You can shoot and edit on video for buttons and have a finished film for the price of just getting some film in the can. Even the professionals are turning to video post-production because it is cheaper than cutting film. Film post-production is a very specialist business. There are fewer people doing it and by the age old supply and demand they charge more money. As for "film looking" I don't know much about it. If I shoot on video I usually like to have an aesthetic reason to back it up as well as an economic one. That said I'd still bet that film looking a pro video shoot will work out less than actually shooting on film, otherwise why would the pros do it. I certainly don't consider it faking. Film-looking should just be anothert aesthethic tool available to the film/video maker. I imagine it doesn't exactly correspond to film and hence engenders for it self an entirely new aesthetic for consideration. Given that the quality of the image is an intrinsic aspect of any visual medium, shouldn't one take every opportunity to make the visuals as good as possible? If the visuals are bad, the "critics" would be quite right in condemning something as amateurish and visually unappealing. Yes make the visuals good. No film visuals are not good and video visuals bad. That is way too simplistic. Film and video each have their own aesthethetic which are equal and different. And no a critic shouldn't go round condemning anything. Criticism I can cope with, but condemnation? Surely that's for murders and terrorists? There is room for a product which is amateurish - look at those home video disaster programs, people like them. Or these surveillance tape shows - again popular. Why can't a filmmaker make something which intentionally looks amateurish or even unappealing? It can be used for effect. Don't limit the possibilities. If you are going to ask people to sit in a dark room, or for that matter on their living room couch, for extended periods of time, shouldn't they see something that is well-thought out both in plot and visuals? Ok I agree with this to a certain extent. My view is that you make the film and you allow people to see it, not ask them. Equally if they don't like it you allow them to get the hell out of there and see something they do like. The filmmaker made the choice to make a film they believe is "entertaining", the viewer makes the choice (or not) to watch a film they hope will entertain them. I didn't think this case specifically called for a commercial release where that allowing thing really has to have a big dollop of asking to added to it if you're going to get the chance to do it again. Hmmm... I think it's much more of a two way street. I think a filmmakers first responsibility is to themselves and that they should be ashamed to make something which is not "well-thought out both in plot and visuals". However even if it is parts of an audience may see the film that way. Basically, something shot on video can be just as "well thought out" visually as anything shot on film. I mean why couldn't it be? "In any event, good luck with it!" I'm sorry if I've gone on a bit here. I find that answering messages helps me think about my responses and probably a certain amount of this is thinking out loud. I hope you don't think I've been rude or aggressive. Even thiugh I was a bit miffed at the start of this I've found that I've enjoyed this little bit of verbal fencing. Anyway, as your final comment clearly puts it, good luck with the film however you make it. And please only my bank manager calls me Mr Devlin, Mark is fine for whatever. 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