An Interview With Bevan Klassan
Why do you make and screen short films?
To keep thinking creatively. There is so much in our culture that keeps us
passive and entertained. Another mark against creativity is the attitude
that if you're not a 'professional' or a capital 'A' artist, then you
shouldn't waste your time producing stuff no one will view. So the default
is to not be creative but to be a consumer.
I think consumption and passivity are the idols of our culture. We buy and
become spectators of all sorts of stuff at the expense of justice, solitude,
and community. On the positive side, I think the "do-it-yourself" attitude
fostered by the Web, low-cost digital technology, and arts festivals like
Cornerstone assist people in reclaiming their right to create and raise
people's awareness of important issues.
Another reason I do this is to explore my experience and other people's
experiences in more depth. In my films, everything is autobiographical to a
certain degree in the sense that I'm exploring concepts that I am struggling
with in life: faith ('Surface Beneath' - surreal), alienation ('Cold Steel' -
action), life-roles ('Father' - horror).
What is a good film to you?
There are good films and then there are important films. People who can
effectively communicate to an audience make good films. People who create
personal artistic expressions make important films. Now the problem is that
I may make a film that no one understands. For example, you may watch my
"Silent Shadow" film on the web and say "What was that?" One reason it may
not connect is the non-linear nature of the story. Another reason may be that
I have not learned to effectively connect with people's experience.
What does it cost to make a short film?
The short films I make cost only a couple hundred dollars. Typically, short
films cost thousands of dollars to make, but because I don't go through the
process of getting a negative cut or a final print I can do things much
cheaper. The downside is that my films need to be transferred to video for
sound to be added. Our local filmmakers' cooperative rents gear and editing
equipment that helps keep my costs down. As far as video goes, a group of
four friends and I pitched in money to purchase a digital video camera. So
all that video costs is the $10 for each digital videotape. As well, I've
bought some lights from a hardware store that I use for lighting. We use the
camera's microphone, which limits us in ways. Eventually we'll make a boom
microphone.
So how many films do you make in a year?
Usually about 2 of my own films. I try to help on other people's shoots as
well.
What is the process of making a short film?
I used to start my scripts with a theme or concept and build characters from
there. This tends to build a story-centered script. Over the past year,
I've tried to start with some interesting characters and let the stories flow
out of the characters personalities and environments. I also attempt to
derive characters and situations from my own experience. This seems to
build more authenticity into the script. As well, I always use a story that
fits my small budget (i.e. who do I know who has a room I can use free) and
time allotment (i.e. usually 2 - 20 minutes). Usually, one script page
equals one minute of film time.
Once I've evolved my characters into a full script, I'll list each camera
shot I need to complete the film. I may also include information about
camera angles, camera lens information, and detailed actions for the actors.
After my shot list is complete, I will sometime storyboard by drawing each
shot or use a still picture camera.
During the previous steps, I will usually have in mind who I want to act in
the film. I have a few actors I tend to use on all my shoots. I try to
always be on the lookout for good and committed actors. Besides actors,
I'll usually get 1 or 2 friends to help on the shoot to help me flesh out my
ideas while we shoot and to do practical things like hold a bounce board or
help setup equipment.
With a shot list and/or storyboard done, I'm ready to book the equipment I
need to make the film --- film or digital video camera, lights (if indoors),
bounce boards, film light meter, etc. Often my films do not have dialog, so
I do the sound after the film is complete. This also saves time and money.
And then the shoot itself usually takes one to two days for every 5 - 10
minutes of film.
After the film is shot, I'll take one of two routes depending on the format.
If I have film, I'll edit manually with a Steenbeck film editor where I make
physical cuts to the film. With video, I connect my camera to my PC and suck
in my shots to edit with my Edit DV software. For my next film, I'm thinking
of doing a hybrid of the two: start on Edit DV and finish on the Steenbeck
Editor.
What is the future of the web with regard to low budget filmmakers and
people interested in such things?
Personal relationships with filmmakers, hands-on learning, and physical
screening venues are always the best way to learn and grow as a filmmaker. I
believe technology should only be a means to the end of encouraging
relationship and growth. With this said, the web is a great source of
inspiration and a place to see what other low-budget film people are doing.
As well, if you can create web-ready videos of your films, you can let other
people see what you're creating. As a side note, besides word-of-mouth, our
microcinema e-mail list and web site are the main source of advertising for
Catacomb.
How do you deal with the controversial subject matter in the films you
make and screen?
In choosing films to screen, we look for filmmakers who are being honest in
their expressions. In a film, you can usually tell if someone is spouting
propaganda versus someone who has created something personal. Propaganda
films always offend me because I feel the pressure of someone selling me
something or trying to change my mind. There have been times where I have
not screened a personal film that wasn't propaganda because it offended me.
My goal in picking films is to honor personal expressions, but not at the
expense of my conscience. I must say that as I grow in my understanding of
filmmakers and in discerning what are a good and important films, there are
fewer and fewer personal films that I can't screen.
For example, we have a promising local filmmaker named Jeff Erbach who makes
extremely dark films. Films that I would personally never make. However, I
know every film Jeff makes is expressing something of himself. So when we
have Jeff in to talk at the microcinema, I have grown in appreciation for who
he is as a person and filmmaker. The result of this is that I don't have a
problem showing anything he has created.
If someone is interested in making films or starting a monthly screening,
what should they do?
Get a video camera (any camera) and start making stuff. If you want to make
a film, connect with someone who has done it before. Most cities have local
film or video cooperatives that have courses that you can take to learn how
to make a short movies. This is a good place to meet new filmmakers.
If you want to start a microcinema, first check out www.microcinema.com to
see if there is a microcinema in your area. Talk to the coordinator to see
what they are doing. I started my microcinema with the help of Joel Bachar
(the guy behind www.microcinema.com). He was extremely helpful in
encouraging me and moving me in the right direction. Alternatively, check out
my web site and then
give me an email. I'd love to discuss how you could make this happen in your
city.
Any last words?
When I create something its easy for me to focus on the quality of the
product and compare it to people who do it full-time. Don't think product,
think process. Think about learning to be creative. Get involved with
people who aren't thinking product (and money), but sharing and learning.
