A Quote by Alec Soth

I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film. — © Alec Soth
I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
Everyone with a cell phone thinks they're a photographer. Everyone with a laptop thinks they're a journalist. But they have no training, and they have no idea of what we keep to in terms of standards, as in what's far out and what's reality. And they have no dedication to truth.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
If you think you are a filmmaker... make a film, and then show it. You need to be able to finish what you started so it is presentable. When you screen it and see if your film has an effect on an audience, you will understand what it means to be a filmmaker.
All I can say is that I am not one of those writers who want 100% of their book in the film. I recognize that film is a different medium and the filmmaker must have the right to bring some new elements to the table, provided the soul of the book is preserved.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
Because for me to go fully experimental, it would turn into an artist book actually. And I'm not opposed to that. But I wanted to toy with the conventions of traditional narrative and sometimes to do that all the way, you have to actually utilize traditional narrative, I think - or it's one way to do it.
In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.
I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.
I needed to do a lot of saying no. I had a lot of [interest] from people who I just didn't think were quite right for it. And I didn't want a bad film to be made of the book, either a sentimental one or a creepy one, so I did a lot of, "No thank you." Then when the right filmmaker came along, yes, I suppose I presented myself very much as wanting to be the writer.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
I think it's good practice, if you're a writer, or anyone who's shaping narrative, to be flexible and open with the direction of the narrative.
As an independent filmmaker, the biggest challenge is finding the money. Whenever you have interest in a film project you need to find investors who are real. I think most independent filmmakers would echo that sentiment.
As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.
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