a steady diet of obsessive cinema and screenwriting in the dark
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When I'm not hiding in my cave as I am known to do I can be found wandering the streets of Brooklyn mumbling to myself. Read more about William Speruzzi.
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William Anyone have The Machinist screenplay by Scott Kosar in PDF/DOC format?
John Ott, writer, filmmaker and futurist, gives us some very interesting thoughts on why failure is part of the big picture and why indie filmmakers have it all wrong (I agree with him.)
I think I’m a pretty smart guy. Not a Mensa member by any stretch but I have commons sense, can change a flat tire, know how to order a bottle of wine, can talk my way out of a traffic ticket and can count to ten in four languages. So I put this question to you fine readers, what is an MFA worth out there in the film industry with the state of things as they are?
I have been wrestling with the thought of going back to school and getting a Masters in Fine Arts. There are only two schools I’m applying to and I couldn’t have picked a better time. The deadline for both is December 1st. There’s the NYU Graduate Program — Tisch School of the Arts. World renowned. The film world elite have been students or have taught there — Spike, Marty, Jim and Oliver. It’s a big program and the price tag is just as big. The other obvious New York City choice is Columbia, a school that has always been know for a solid screenwriting program and beyond. When I was taking some Continuing Education courses at NYU way back when, the general consensus was that if you wanted to direct you went to NYU and if you wanted to write you went to Columbia. Not sure how true that was then and how true it is now.
There are a few concerns here, money being one of them. There’s no way I could afford NYU on my own without any financial assistance and that doesn’t include making films, that’s out of pocket. Going through the bursars website I found out that a three year program, at about $20,000 a term, comes to approximately $150,000. That is including a modest budget for student films. Very modest.
The Columbia University MFA cost is slightly less. The first two years are all coursework, no film production at all, and it’s approximately $50,000 followed by thesis years which are about $3,000 a semester for a Screenwriting concentration. Big difference from the Tisch program but I know that NYU has invested a lot into their film department. I’m not sure how the Columbia Directing Program really stacks up.
I guess a big reason why I’m applying is maybe because I’m craving the need to be immersed in something I deeply care about and still want to improve at. I’ve spent the last year and a half caring for my son while Linda toils away in the coal mines. I feel out of loop and this could be a way to get back in. Besides, the film industry is in a complete state of panic and flux. Maybe now would be the time to do this.
I’m definitely applying to both. The decision of whether I go or not will be made when the time comes. The decision might be made for me for all I know. I would appreciate anyone who wants to leave a comment about their MFA/Film Program experience at either one of these two schools or any film school for that matter.
Ever once in a while I write a post to get people to see a film I deem worthy of accolades — take that for what it’s worth. This is one of those posts. I saw Ballast at the recent New Directors/New Films series at Lincoln Center and thought the film was a beautifully grounded look at the lives of a fragmented family living in stressful times on the Mississippi Delta. As part of a new self-distribution model the Thursday night 8:00 screening is part of the IFP’s First Weekend Series. With the purchase of a $25 ticket you get the screening, a Q&A with filmmaker Lance Hammer and an after party with the filmmaker and NYC’s film community. You will truly be supporting a film that deserves it so check it out.
September 14th-19th kicks off the meeting of the minds in independent film. I will only be attending this Sunday of the Conference which in my opinion looks like the better day to go. Panels. Networking. You know the deal. A good week to get reenergized and bump into some old friends and hopefully make some new ones. The schedule can be viewed here. Anyone going? Drop me an e-mail.
If you’re in the city this weekend and want to see what looks like a very inside view of the American male in the midst of an emotional tailspin, check out Momma’s Man from filmmaker Azazel Jacobs, it opened yesterday at the Angelica. Here’s a snippet from Karina Longworth’s review on SpoutBlog:
When a filmmaker casts his own parents as parents––in a film about an adult and his relationship to his parents upon returning to his childhood home, a film which said filmmaker shoots *in* his childhood home––you’d expect (or maybe fear) that the result would be meta-personal to the point of solipsism. But what’s really surprising about Azazel Jacob’s Momma’s Man, which stars his experimental filmmaker father Ken Jacobs and mother Flo Jacobs and was shot in the Manhattan loft in which the family has lived for decades, is that it feels completely universal. The story of a 30-something husband and father of a newborn who extends a stay at his parents’ ramshackle New York apartment indefinitely, it’s an incredible portrait of the final phase of coming of age, the transition from being parented to parenting.
I couldn’t wait to see this when Linda was on the verge of giving birth to the boy because, well, it described everything I was going through at the time in a little capsule. The panic, the responsibly, the desire to crawl back into the womb myself. I’m going to try and check it out next week myself but all of you should give this film a little weekend box office love. Check the trailer:
[The following is an orphaned mini-review that I dug up from my draft archives. I thought it was relevant considering the recent changes in the film's distribution plan.]
At first glance director Lance Hammer’s debut film Ballast can easily be dismissed as a poverty level dirge of depression and bad luck for a lonely group of people who live on the Mississippi Delta. That would be a mistake. It’s more like a slow burn meditation on what it takes to survive when all life has given you is nothing in return for a life of suffering. It is the story of a fragmented family of three who try to figure out what will happen next after another member commits suicide. Immediate and pulsing with a Southern Gothic bloodline, the film deliberately ramps up into the desperate but dignified circumstances of this small collection of characters. The flat tone resembles the flat landscape but is never dull. Post-screening Hammer described his editing technique for this film as “using the moments in between” but he could have easily been speaking about his characters lives who seem to all too easily slip through the cracks.
Recent film news reveals that Hammer will look to go it alone when it comes to distribution and film rights.
Hammer says conventional distribution advances for a small film like “Ballast” range between $25,000-$50,000. “If you made a $50,000 project, that makes sense,” Hammer said. “If you happen to spend more money than that, it becomes difficult to justify giving up creative control.
After reading the news of the coming apocalypse for independent films it’s good to see an example of a filmmaker controlling his own destiny.
Related: For more inspiration read the interview with Lance Hammer at The Filmlot.
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Ballast screened Sunday, March 30th at the 2008 New Directors/New Films series for the Film Society of Lincoln Center.
I submitted my screenplay Dyre Avenue to the Emerging Narrative section of Independent Film Week on Thursday. It’s billed as an event for “writers and writer/directors seeking producers.” Guess that’s me.
I’ve been frustrated by competitions and contests in the past even when I’ve gotten good feedback. I think you get to a point where you just need to move on and create new work which I’ve done but for some reason I thought I would give this a shot. I’ll probably attend the week as a participant at the Conference like I did last year. It’s a good way to make new connections and catch up with some old ones. It’s like a battery recharge.
If I was going with a selected screenplay this year, well, that’s a whole other story. Maybe it will be the boost I need. Just maybe. Let’s leave it at that.
One of my concerns when I was planning on having a child was time. Am I ever going to finish a book? Am I ever going to see a film again? Will my tradition of attending the Tribeca Film Festival for the last five years fall to the waste side? Hell no.
I just snagged a pair of tickets for my baby’s mama and I to see The Caller. Since I didn’t have a lot of time to really go through the guide and do my usual research I cut my search short and found this cool looking neo-noir crime drama by return filmmaker Richard Ledes. Even though festival screenings are hit or miss I usually walk away with something whether it be a daring performance, stellar photography, the name of a producer to add to the personal database (note: film festival websites are a good source to find contact info) or just inspiration. Either way it’s a chance to keep the tradition going and in the time between now and next year I’ll have a year under my belt as a parent and maybe the festival can get a grip on its own identity crisis, again.
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by William Speruzzi
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[The following is an orphaned mini-review that I dug up from my draft archives. I thought it was relevant considering the recent changes in the film's distribution plan.]