I typically agree with this, but actually when I started my current edit (which is the largest one I've ever done) I decided to deliberately not watch every shot due to how much footage there was. I know it sounds stupid, but I just arbitrarily picked the last take and did a very rough assembly using all those last takes of each scene.
Obviously I had to go back and look for a better take when the acting/continuity/whatever, didn't work. But it let me start cutting and assembling much faster, and I felt like I had a better grasp of what takes worked and what didn't when I had the context of the shots before and after it. Whereas watching each take in isolation didn't feel productive because I couldn't get a sense of the emotion and rhythm to the scene as a whole.
Definitely agree with keeping everything organized though.
100% makes no sense. I'd rather put my money on kodak blockchain. And that's coming from someone who occasionally shoots on 8mm and 16mm. There are so many still functional super8 and reg8 cameras available for less than $50. Buy the real thing, it's cheaper and fun to learn its limitations.
Their advice isn't contradictory. Soderbergh was being descriptive, Duplass was being prescriptive. Make your mistakes to learn your craft, because like Duplass, you aren't on anyone's radar yet anyways. However, if you do reach Soderbergh's level, Hollywood is less forgiving now than they used to be. Which actually kinda reinforces Duplass' point, learn when no one's watching.
For me it's all about the sincerity of it, especially in a post-Tim & Eric landscape. The pastiche of intentionally "bad" content has been done to hell. What separates good "bad" content from boring "bad" content is the sincerity of the creator who genuinely tried to make something good but ended up with trash. The irony of their sincere effort is what's so enjoyable.
Thank you! "Story" and "Storytelling" are thrown around so much as buzzwords that it seems like people interpret them rigidly and focus only on the concrete details of plot and screenwriting dogma.
I've always questioned why scripts shouldn't take more poetic license if they are supposed to translate to films with a distinct tone. Figurative language is what guides us to creating images that evoke the mood of the world, the characters' headspace, or the overall themes you're exploring.
I just came across this post that has some creative ideas