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Would-be filmmakers have this inkling that winning a Palm d’Or or any prestigious film award is achievable by making films with ungraspable plot lines, indescribable characterizations, precariously shot sceneries, irrelevant nudities, and multilayers of foulmouthed dialogues and shadowy subplots. The result of believing this notion is multitudes of bad films that smear the prestige of the entire movie industry.
Most film students, upon learning immense textbook knowledge in school, suffer from a very injurious illness of having too much eagerness to deviate from the current standards and trends. These students despise mainstream Hollywood movies, turn to international cinema, and make films that are devoid of delicate cinematography and significant storyline.
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That is why many short films and exploratory films made by film students today are unsurprisingly unpromising.
The other quandary that continuously distorts the future of cinema is the heavy borrowing of student filmmakers from the greats. Films that are obviously copied from the oeuvres of Scorsese or Schnabel or Cukor are everywhere—as if these films have been maliciously transported from the past and lost their elegance along the way.
Impatience is one of the serial killers of cinema today. In this time when the Internet is too gracious in providing every human’s hunger for knowledge, young filmmakers do not do it the master’s way any longer. They are subservient to the free tutorial stuff on YouTube and to whatever Wikipedia is saying. They don’t give their lives to the craft as Jean Renoir and Akira Kurosawa and the other masters did before.
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Samantha Pouls is a junior high school student who is interested in the intricate process of filmmaking. Like her Facebook page to have more updates of the other activities she loves being involved with.
You think deeper and a little weird for your age, to be honest.
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