Everyone has talent. What is rare is the courage to follow the talent to the dark places where it leads.
This doesn’t necessarily mean that you have to make a horror movie… even though I couldn’t encourage you to do it more – the Horror community are the most open, friendly, supportive fans out there.
What it means, as my improv teacher at the Tokyo Comedy Store once said, “audiences want you [the characters] to walk into the danger”. They want to see you do what they fear to. For a writer, that means the courage to face your demons, and write about it with truth, and candour.
Success follows truth.
Directed by award-winning filmmaker Paul Leeming, “An American Piano” is based on the extraordinary true story of a young Japanese girl, Youko Koshida, who played the piano for Prisoners of War during World War II and how it affected their lives.
War is only possible when the enemy is dehumanised. “An American Piano” is a story of humanity, compassion and the universality of music in helping to heal the rifts between wartime rivals.
Starring Lou Ohshiba, Adam J. Yeend, Qyoko Kudo, Jun Matsuo and introducing Leon Masuda.
For more information and contact details visit:
Originally posted on Gideon's Screenwriting Tips: So Now You're a Screenwriter...:
Words of wisdom from BOSI.
1) Be prepared to meet always-questioning, confused investors/executives. Many times folks with lots of loot, power, and influence aren’t the most creative people. So help them get inside your brain. Put together storyboards, have drawings, play music, do a puppet show, anything. Well, maybe not a puppet show.
2) Be tenacious. In order to get the meeting, you need to hit up everyone you know and even more people you don’t. Call them.
Sometime when I was a toddler, I was playing with some lego blocks and building little plastic buildings. The story goes that my Mother turned to my Grandmother, proud as punch, and said, “Look a handyman!” To which my Grandmother replied, “No, an Artist.” And she was right.
At the age of eight, infatuated with cars and Wheels magazine, I started designing cars. My family just seen the 1988 World Expo in Brisbane, and I got to see Mitsubishi and Holden’s designs for the future, as well as current and past concept cars. Both companies really laid the future out for everyone to see, as it wasn’t until 1996, before they started producing cars that I hadn’t already seen the designs for at that exhibition. So, I poured over Wheels and my Dad would even let me park the car in the garage sometimes (ironic considering the fact that I can’t drive now), and we’d go to motor shows, and auction-houses for second-hand cars that had been in a car accident (Dad would buy a Suzuki from them, a cursed car that would land us in an accident as well – but that is another story). One day, I was inspired by the Mitsubishi Colt, a small car that I felt had big car potential. I went ahead and redesigned their car as a family sedan, and sent off the designs to Mitsubishi’s plant in Adelaide. I had big expectations, hoping to they would buy my designs and I could begin life as a designer (I was never really taken with being a kid). I had even told a friend when he asked how much I would sell the design for that I would sell it for $50,000. I had no idea what that amount of money meant, but it seemed like a lot to me!
However, my designs were no what they were looking for. I actually got a extremely nice letter back from Mitsubishi with booklets featuring very expensive beauty shots of their cars (this was the eighties after all). The letter, which I still have, was very encouraging, saying that he liked my designs and that they reminded him of the new Magna. He encouraged me to look at the new Magna series (which I dutifully did), and that I should continue learning design. This inspired me to send my designs to other car companies so that I could get their advertising booklets, but none were as genuinely nice as the man at Mitsubishi.
Unfortunately, my passion for didn’t really last very long after discovering that I wasn’t going to immediately strike it rich. After that, I set my sights on Architecture and fashion design.
to be continued…
What a wonderful song, with a beautiful video.
What you’ll see above is not your usual polished and prepped ‘Behind-The-Scenes’ piece, but hundreds of individually collected bits of raw footage shot on the set of ‘Alien’ in 1978 and 1979. Some of it was apparently shot on video, some on 8mm — some bits even look to have come directly from unused film footage. Given that most of it was shot for personal use though, very little of this footage has actually been seen before; and it provides a very intimate and unique approachability to a film many of us have seen dozens of times before.
Would you like to go to bed in the cinema?