I Didn't Report on Austin Film Festival

And I should have. Reported on the festival, that is. It was a great festival. I've never made a film (unless you count little thirty second or less bits with the point and shoot digital camera), written for film or anything of the kind. I did once consider making stop action films with my bendable, posable collection like these delightful Fido Dido figures. (Photo taken in office long ago.) But no...I'm a dilettante of filmdom. Still, we went to the Austin Film and heard how it was done and saw the results. We went to some interesting panels. We saw some great movies and some that made us go 'hmmm.' We enjoyed getting out and going to the venues. (We always set aside other social things and dedicate ourselves to being film dilettantes.) While downtown we explored old and new haunts.

We enjoyed seeing Dan Petrie, Jr. again. (We visited with him when he came to town for an event the AFF put on in August.) He said 'hello' during the Film and Food benefit and said how delighted he was to be presenting one of the festival's awards. To Glenn Gordon Caron, I believe. FFP and I failed to pull the trigger on getting luncheon tickets and it was sold out so we didn't see the awards presented this year. We enjoyed Dan's discussions and antics in a couple of panels. He took the fest's title of one panel, 'Shot of Inspiration,' literally and showed up with a bottle and tons of little mouthwash cups. The bottle was empty before he got to us, but we still thought it was funny as he diligently tried to pour a little 'shot' for the scores of panel attendees.

I'm not a screenwriter. I'm an admitted dilettante and live by the motto you see on this page: "Pretending to write but really just blogging." But I learned a lot about screen writing from the panelists. Gems like "Don't let method close your mind." And techniques like making your story into a simple myth-like tale and constantly referring to that structure. A friend of mine who has done some plays by retelling the stories in operas has used that idea in his own way.

In one of these panels someone said that introducing a problem and solving it in the same sequence is a waste of time. Now that's a mistake I don't make in blogging. I have introduced tons of problems: too much stuff, the inability to focus, the distractions from what's important. And I've solved virtually nothing! Oh, but in the movies the resolution must come.

One of the panelists advised the attendees to "write a movie you want to see that only you can write." Now, this blog is a blog that only yours truly could bring to life. That's for sure. Whether I really want to see it or reread it later. Well, that's another matter.

What else did I learn from the accomplished writers who were panelists at this premier screen writing festival? Hmm...well, don't use ellipses in screen plays. And in that 'Shot of Inspiration' deal I learned that inspiration probably doesn't come from a bottle, but that it often comes when we aren't thinking about writing. But I knew that in my heart of hearts. Oh, and someone advised that you should write a scene that you know isn't going to be in the movie just to get to know your characters. Maybe that's why I blog but also write on my computer in a 'mostly for my eyes only' journal.

Some of the writers were strong proponents of the written outline. That often cited thing about "characters taking over and doing and saying things you didn't expect?" The experts said it happens and it's a good thing. On writer's block someone said (or quoted someone as saying): "The creative mind flees from its obligations." Ain't it the truth?

I always have trouble, when trying to write fiction with dialog. (That would make it difficult to write plays and movies, huh?) Aline Brosh McKenna (who adapted The Devil Wears Prada for the screen) said "If the story is working, then the dialog is obvious." Someone suggested just writing dialog without character names and not in screenplay format and then format and then cut, cut, cut. Nicholas Kazan advised looking at a speech and figuring out its purpose. And then cutting everything that didn't serve the purpose.

Someone in a seminar claimed that David Mamet said that in a scene where someone is going off to war, everyone will have them come in and say "I'm going off to war." But, he allegedly added, "Few can resist having them say 'I once had a kitten.'"

I liked this advice, too: "The viewer is happy to come in right in the middle of the action." Or this, similar gem: "Writing a scene is like going to a party...arrive late, leave early."

Someone said that the greatest invention in script writing was multi-colored post-it notes. (Trademark 3m.) He (it was a he I think) said use a different color for each character. Your characters, we learned, have to be put through something.

When you are all done? Don't send it to the big talent agents. "They won't even recycle the paper." But in the "Groundbreaking TV" panel we found out that "Groundbreaking things happen when you are being ignored."

So what to make of all this? Is it just me transcribing notes? And recycling old pictures? You bet. Get used to it because I've signed up (mentally at least) to post every day in November and December.