I have to say it. I’m so fucking tired of seeing so much generic shit made by my generation of young filmmakers. Some of these people will see this post, and think (“Not all cinema has to be artistic/experimental/ambiguous/personal etc.”). Yes, it is true that not all cinema has to be the same, so why are so many of you simply regurgitating the same, hackneyed, overtly-sentimentalised empty bullshit that was a load of bollocks when it first was used, let alone after the millionth fucking time?!
Too many young filmmakers think that if they spend a shitload of money on kit, they are a professional. Nothing could be further from the truth. It’s nothing to do with the kit. It’s what you do with it. Your creative voice is what is important, and so many people don’t have one. Do us all a favour, including yourself: start thinking deeply about what you can truly say with cinema. Make something that you earnestly, deeply believe in… Something that hurts you to create, and yet, ineffably you have no choice but to voice it creatively. Dare yourself to fail. Let the ideas swallow and envelop you like an ocean. Be fearless. Be curious. Don’t regurgitate the same trite shit. If you can’t, then honestly, your films mean nothing.
Submitted by Scott Barley
Scott Barley is an artist and filmmaker living in Newport, South Wales, UK. Scott studied Art & Design at Howard Gardens, Cardiff Metropolitan University, where he focused on themes of existential angst, self-sabotage, isolation and metaphysics within nature. Based on the unknowing of man and the harshness of nature, he exhibited an interactive installation, incorporating living room furniture and insects and a video piece, where he was voted as one of the top 25 upcoming young artists in England and Wales in 2012. Since then, Scott has focused on filmmaking; further exploring themes of existentialism and metaphysics, with dark and lyrical avant-garde shorts, including Irresolute, Nightwalk, and Polytechnique. His work has been screened in festivals across Europe, North and South America, and Asia. Scott Barley has been linked to both the Remodernist Film Movement, and his work has often been compared with the works of Stan Brakhage, Philippe Grandrieux, Béla Tarr, and Jean Epstein. In mid-2014, the first comprehensive history of the Remodernist film movement was published at the Université de la Sorbonne Nouvelle, Paris; a 244-page thesis by Florian Maricourt, under the research direction of Nicole Brenez. The document includes a rich dissection of Scott Barley’s filmography and artwork, along with other prominent members of the movement, including Jesse Richards, Peter Rinaldi, Billy Childish, Rouzbeh Rashidi, Dean Kavanagh, Roy Rezaäli, Heidi Beaver and Harris Smith. Scott has also contributed written pieces to the film and artist’s moving image journals, ELUMIÈRE and La Furia Umana.