To become a filmmaker: Commence production on your script and proceed to post-production as soon as possible. There is no “perfect” film. Every stage of film production—from writing to editing—reflects and embodies individual interpretation, sheer taste, and stakeholders’ intentions and opinions. There is no lack of resources for you– Deadline Hollywood, Hollywood Reporter, Variety, and others. Even when you, as a film director, screenwriter, or producer, strive for realism, the final cut inevitably becomes an amalgamation of choices and decisions that the above-the-line stakeholders wanted. Therefore, acting quickly and under uncertainty is indispensable.
Become a filmmaker: Subjectivity of Film
Every film begins with a point of view. As a screenwriter, you have your point of view and it is the first layer of subjectivity. You weave the story, the premise, the conflict, the dialogue, and characters. Two screenwriters can and very likely would tell two different stories about a historical figure: one might focus on the political background, while another would highlight his or her the great deeds.
So, as a screenwriter, you can capitalize on the inherent subjectivity of your craft by simply writing the script and hoping for the best, not rewriting until you get 100% approval from your colleagues. Double-time is acting quickly but maturely—not waiting until everyone you ask simply approves your script. .
Directing: Interpreting the Story
To become a filmmaker, you need to tackle the script first. Once a script proceeds to production, you the director become the primary interpreter. Film directors decide how to convert scenes on the page to scenes on the screen, how actors should perform their roles, and how to interpret the script. As a film director, you can see how different directors approach storytelling. For example, Christopher Nolan likes complex narrative structures and almost intellectual puzzles, Joel and Ethan Coen excel in quirky dramas, dark humor, and surprise endings. If Nolan and the Coen Brothers direct the same script, the resulting films would be very different. So to become a filmmaker, you need to be a master in understanding the story visually.
Therefore, you, as a film director or to simply become a filmmaker, need to realize that you need to make the film that “represents” you, not the film that pleases audiences or even critics. The inherent subjectivity of the medium prohibits any value judgements—unless, of course, the director commits any violations of film production conventions
Cinematography: Subjective Framing of Reality
To become a filmmaker, you need to have a multifaceted understanding of a script and the story. You, as a director of photography for example, do not simply record events: You offer your subjective perception and hope the audience likes or agrees with it. The decisions you make encompass camera angles, lighting, camera and the equipment, and the tone and atmosphere of a scene, so you almost decide how an audience “should” respond to these choices. A dark thriller or atmosphere, such as The Girl with the Dragon Tattoo invites some claustrophobia but definitely suspense, intimidation, and apprehension. A film like Titanic invites awe and admiration with its sweeping, panoramic shots. A low angle can make a character appear powerful, while dim lighting can imply secrecy or tension. The decisions affect how audiences emotionally respond to your film or even scene. Accordingly, as a director of photography, you are responsible for the subjective “look” of your film, so make the most of your choices. Unless there would be a clash with the film director or even actors, you can and should act double-time.
Acting: Personal Interpretation of Character
As an actor, you interpret the script, draw on personal experience, and make the best possible choices. Depending on how you interpret the character, you can deliver one line as sarcastic, as neutral, or use your facial expression to support or compliment it. Added to that is that the director or even other actors would share their input on how you can interpret the character. Accordingly, acting is also entirely subjective and partially depends on others’ interactions on the set.
Editing: Another Layer of Subjectivity
As an editor, you have the tremendous responsibility of weaving a coherent story from the myriad “takes” and other stylistic and technical choices. With 100s of hours of footage available, they must decide:
- Which takes to use
- How long shots should last
- When to cut between angles
- How scenes connect rhythmically
An editor can make a scene pivotal or can make it secondary, depending on their experience, their taste, and how they interpret a scene in the overall timeline, Therefore, you have tremendous license in how you weave your cut This is why filmmakers often say that the crew makes a film three times: In the script, during shooting, and finally in the editing suite.
Basking in Subjectivity
To become a filmmaker, you need to enjoy subjectivity, rather than viewing it as a hindrance or threat; you can view it as an inherent, inevitable byproduct of the medium. Subjectivity and uncertainty are opportunities because they can induce you to act quickly, rather than to wait for “perfect” conditions or outcomes. Subjectivity and uncertainty are partly what can drive you, a film director, actor, or director of photography, or a film producer, to succeed. It can allow you to see your film in another light,
In the process of becoming a filmmaker, you can seek empowerment by the uncertainty and subjectivity of the medium. You can take pleasure in acting double-time and making the most of uncertainty and subjectivity. The incredible subjectivity and uncertainty of the medium is a chance for you to confer your fingerprint, not a barrier to stop you.
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