“Short films can be a shortcut to Hollywood success”
Steve Zeitchik of the LA Times with this piece:
To many movie fans, the mention of short films conjures some dusty notions. If the form registers at all, it’s as a film-festival afterthought or a quaint anachronism, a reminder of the moviegoing era of a half-century ago when the main theatrical event was sandwiched between cartoons, newsreels and other filler.
But to contemporary Hollywood, shorts are serious business — or at least a serious fad. The massive success last year of the shorts-derived “District 9” — and the power of YouTube to spread word quickly — has transformed how Hollywood views these mini-movies. “Studios and financiers have always said they’d like to see as much of the movie as they can, figuratively, before they develop it,” says the veteran Hollywood producer Douglas Wick, who has been behind mega-hits such as “Gladiator.” “With shorts, they literally can.”
Article features two short films we’ve tracked on GITS: “Panic Attack”:
Sam Raimi’s production company was the envy of many in Hollywood last year when it outmaneuvered several players to acquire the feature rights to “Panic Attack,” an apocalyptic tale evoking “The War of the Worlds” from a Uruguayan unknown named Fede Alvarez.
And “The Raven”:
And over the last few weeks, heat has swirled around Ricardo de Montreuil’s “The Raven,” a story about a man pursued across a dystopian downtown Los Angeles, where the film was shot over one weekend. “The Raven” is the most current example of a short gaining buzz in real time, as stars, producers and agents send links to one another with an air of conspiracy and discovery. It’s basically Hollywood’s version of pursuing unassuming bar bands in the hope of turning one of them into the Rolling Stones.
“It was a little insane. I don’t know how it became viral so fast,” says “Raven” director de Montreuil, who previously directed dramas that played the likes of Sundance but never before gotten a fraction of the attention. “I’m still trying to figure out what happened.”
But then these words of warning:
But as the trend has caught fire, some point out there are limits to what even a good short can prove. A five-minute movie, after all, is shorthand. It’s a far cry from a well-paced, three-act story that even the most rudimentary screenwriters turn out. And even when it’s done well, only certain film categories lend themselves to shorts. One could hardly begin to lay out the building blocks of an emotional drama in a few minutes. “With a genre movie, it’s about feeling and sensation,” admits Andres Muschietti. “I don’t know if a short works well for other types of movies.”
The shorts wave has also grown intense enough that it has provoked a backlash — in many ways before it even has had time to prove itself. The Hollywood Reporter ran a story last week proclaiming that the trend had already passed. “Hollywood feeling shorts fatigue,” the headline announced, even though no film from this new crop of shorts has gotten close to becoming a finished feature.
Like other Hollywood trends, this one will probably mint a few more overnight stars before it’s all over, as well as churn out a number of cut-rate copycats. “Shorts remind me of how Esquire used to put the image of a monkey typing on its cover to show how easy everyone thought it was to write a screenplay,” Wick says. “But it of course wasn’t that easy.” He pauses. “The idea of creating a good short is much easier than the actuality.”
As usual, the story here is about “story” — as in storytelling:
“A good short tells you that a filmmaker can handle a story, that he has vision and that he has the ability to convey emotion, which are all things we saw with Neill,” says Sony president of worldwide affairs Peter Schlessel, who helped spearhead “District 9.
Story. Vision. Emotion. Same qualities we shoot for when writing a screenplay.
What are your thoughts on short films? Smart way to go? Or focus on writing a feature length screenplay?
Comment Archive