Wheels and Waves: I’ve been thinking about the powerful capabilities of action cameras and action filmmaking. Three years ago I did an interview on this blog with Roberto Studart, a Brazilian filmmaker. The interview remains one of my favorites. His shots of downhill skateboarding on mountain roads are breathtaking. Here’s the clip again, for your enjoyment:
Roberto has done more, including some incredible surfing shots. Catch his work on Vimeo.
Action cameras and underwater camera housings allow big wave surf photographer Sachi Cunningham to capture stunning visuals of surf. For more on Sachi, see Inside the Mind of Sachi Cunningham on Vimeo.
Have you seen the Storyhunter website? Check it out. Storyhunters are “award-winning video professionals ready to go on assignment for you. They are passionate visual storytellers. They are filmmakers. They are editors, creative directors, video journalists, producers, sound recorders, animators. They tell authentic stories. They are on the ground and they never back down from a challenge.”
S: Do you have any advice you’d give to young filmmakers still trying to figure out their style?
Nehemiah Stark: Putting yourself out there to work with other filmmakers that inspire you is huge because we can only learn so much from the work we do alone. I learned the most working in a collective. It’s great to have people to look up to, to get feedback from. Mentors can be people you’ve never met. You can study the style of filmmakers and emulate them. Imitating them is huge and it takes a more discerning eye to see what’s being done technically.
Allison Otto: Don’t limit yourself to learning from the work of cinematographers. Check out the work of still photographers and photojournalists. Don’t feel like you have to travel far and wide to tell meaningful stories. Powerful stories can be found in your own community, and with your knowledge of your community and its rhythms, you’re the best one to share them.
Storyhunter describes its mission: “We make it simple to create high quality original video. Whether you need event coverage, mini-docs, aerial drone footage, branded content series, or just to supplement your in-house production team, our platform connects you instantly with the best specialists on the planet. We also help you seamlessly manage your projects, contracts, and payments in one place.”
Writers welcome story ideas. Often those ideas come from inspiration, from notes, from good old ass-in-chair work. But sometimes you’re just plain stuck.
Try looking and listening while you’re shopping in the supermarket. The other day I spied a man in a kilt in Trader Joe’s market. It was the second time I’d seen him there. And the staff knew him. He talked to them about being out of town for a while. So I wondered: what’s his story? Why the kilt? It wasn’t a costume. It was an authentic, styled kilt. Why?
A while back I asked the woman who was checking out my groceries, how is your day going? She began talking about her plans for the evening, ready to celebrate a young woman’s one-year sobriety. She herself was a recovering alcoholic. What’s the story there?
“I understand small moments of joy on a page, like a slave receiving a Christmas present, because I can place those stories into a broad landscape and see them as the exception, not the norm. I knew what it would be like to be black today because I learned what it was like to be black yesterday through books that respected my identity and recognized my intellectual capacity even in elementary school.”
Gómez, who is bi-racial, talks about absorbinging stories of slavery, prejudice, disenfranchisement as a child and a young reader.
“It was made clear to me that even fictional narratives were based on painful truths, and there was an enduring heritage of prejudice and disenfranchisement that would affect my life anytime I left the house. What good would it do me to have no understanding of where it came from? You could say this is a heavy weight to place on a child’s shoulders, but you have to start lifting weights if you ever want to lift heavier ones.”
Gómez, a former librarian, studies middle grade and YA books. “My not-so-secret dream job,” she says on her web page, “is to work in TV development and turn the best middle grade and YA into the best (and diverse) TV shows and miniseries. In the meantime, I’m getting a PhD in that stuff because I’m good at racking up degrees.
“People whose cultural memory includes oppression, genocide, or disenfranchisement don’t have the luxury of avoiding those topics with their children, because they have lasting effects into today. It doesn’t lead to raising victims, but informed citizens.
“You have to earn hopeful stories about horrifying events, and you can only see what hope means if the horrors lurking nearby are visible. You don’t get to skip to happily ever after. You don’t get to show the sweet without the bitter.”
Here’s a recommendation from actress Geena Davis on inhabiting your scripts and stories with female characters:
“Go through the projects you’re already working on and change a bunch of the characters’ first names to women’s names. With one stroke you’ve created some colorful unstereotypical female characters that might turn out to be even more interesting now that they’ve had a gender switch.”