Maybe I should read it again, but I'm trying to find the part where the author demands that you limit your art?
Or perhaps I don't need to be reminded that I'm allowed to make whatever I want, instead of getting upset that someone is pointing out something that makes me kind of uncomfortable.
I found it an interesting observation about how one can look at rebuilding audiences perspective of representation on screen.
I went to Alex Buono's class in LA, when he was on tour. I can truly say from actual experience that it was a great experience. For the price and what I got out of it, it was definitely worth it. For others, who can learn online and are well connected with A-Class DP's, then by all means, ignore this. But for some of us, such as myself, I learn better when I'm surrounded by a group of like-minded people and getting my hands dirty. Yes, you can do that without a teacher, but it certainly helped me. Also, this is a great middle-ground between people who are undecided between shoving $50k in the gutter for film school or not going at ALL.
These days, the only thing that matters is price. If they announce it and it turns out to have everything a filmmaker needs and wants, but it's priced at $10k, then I don't care. You know what I mean? The new stuff will always have the latest upgrades, the only revolutionary attribute will be, who will Nikon make it available to.
He will for Blade Runner 2049. You heard it here first.
I struggle with #7 and a lot, and it tends to bleed into my daily life as well. It's just good life advice. And thanks for pointing out #2, it needs to be said. Great list!
There is something to be said for the simplicity of the Coen's framing. And there's nothing flashy about any of Deakins' photography; it simply tells the story. I can't help but look at the characters in the scene, and not the cinematography, which, I think, is the power of Deakins style.