Did close to an hour interview on Pilar Allesandra’s “On the Page” screenwriting podcast that was just posted. http://itunes.apple.com/us/podcast/on-the-page-screenwriting/id262077408
During the course of having lunch with a friend who had recently been the C.E.O. of a major studio, I lamented all the creative people on planet Earth who might be just as talented as the people currently working in the industry and how they would never get a chance to make their films. He fixed my eyes and said: “Howard, I think all the really talented people are making films.”
His response reflected what I already knew about his Darwinian world view. I thought of arguing the point but decided it would be fruitless, because you cannot prove a negative. That exchange echoed in my head for years, and in some ways provided the genesis for this book.
Is it true that those who “make it” are the most talented people practicing the art of film and therefore deserve to succeed? Or do other factors play an equally important role? Read more
Professionals in all fields have a way of looking at the world, a set of values and procedures that tells them what they need to pay attention to and what they can ignore, those things that are either relevant or irrelevant to their goal and method of work. So, too, do filmmakers.
“Anyone can make a movie,” is true in the same sense that anyone can play baseball or write a sonnet, but few become a Babe Ruth or a William Shakespeare. Becoming a professional requires not only a higher degree of skill than most people obtain; it also requires a mindset about the profession that is quite different from that of the weekend golfer, open mike comedian, or summer filmmaker.
Many books try to help you appreciate and understand how films work. (I’ve written one myself, The Power of Film.) A slew of others tell you how to write screenplays or master the technical aspects of filmmaking. This book is not about these things. It is about the process of becoming a professional filmmaker. Read more
Howard Suber would, in all certainty, warn you against accepting at face value any of the plaudits and accolades that accompany forewords to books. And it isn’t false modesty or curmudgeonly cynicism that would drive this response (although he is uncommonly self-deprecating for a man of his accomplishments). Instead, he has always exhibited an extremely persistent aversion to the empty cacophony of hype, of academic self-congratulatory grandiosity, and of meaningless film industry bullshit. So it is with a strong degree of trepidation that I attempt to avoid these pitfalls and seek to reflect and comment on this book and its author.
Howard Suber is not necessarily a name you would know as an author or critic (although I think that will change once this book is published), nor is he part of some film industry elite. He is, however, a man with many admirers inside that industry, and countless former students lavish praise on him — many of whom are among the biggest names in film and television. Read more