A Quote by Donal Logue
It didn't get into Sundance although I showed a rough cut which is a mistake to all filmmakers out there.
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Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.
I think in general with micro-budget films right now, it's rough. The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.
The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.
You know, I came in as a rookie and didn't get to play much at all, really. Became a sponge. I had to go through the rough, get cut a couple times, take the G-league route, which was the D-league back then.
I put out 'Rhythm & Bricks,' which showed my versatility, and I had a lot of melodic songs on there, then I had a lot of street songs on there, and I just wanted to know what everybody wanted from me. I did put that out so that everybody could get a feel, so 'Cut It' just happened to come out of there.
A big mistake a lot of filmmakers do is they like, "We cut our whole ending to a Rolling Stones song." You better find a new ending then, because unless you have $2 million for that song.
If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.
Whether you're driving it short or you drive it far, you got to be in the fairway because the rough's brutal, and if you get out of the rough into some of these bunkers, you can get some funky lies.
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
The essence of seduction for me in a man, although it stems from his rough, almost rough-neck looks, still contains something of the woman: he must be seductive and intelligent.
If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.
I haven't done Botox. Although there are a few women on screen who do, and if you don't do it, which I don't, you look pretty rough by comparison.
Now, tell me how you're going to teach the history of Jefferson, and cut out all those quotes and cut out all these facts, and cut out the key line of the Declaration of Independence: We are endowed by our Creator. I mean you have to have a conscious deliberate censorship of America, which is what the left and the courts and the classrooms has had for 40 years.
[Sundance is] giving people a chance - many first-time filmmakers. It carries that weight - if you bring something here, people connect with it and it can launch a career.
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