Awards Are Worthless - The Anxiety of Seeking Approval as an Artist #atozchallenge #indiefilm

Actress KaDee Strickland and Director Akil DuPont at the Student Emmy Awards.Few people can deny how good it feels to receive an award or two, in many cases, no matter what it is for; Honor Roll, Student of the Week, Employee of the Month, MVP of the NBA, Magna Cum Laude, Pulitzer and Nobel prizes, you name it -- we salivate over and work our butts off to gain honors. This yearning was not lost on me when I started to pursue a career in film.

I wanted awards -- particularly an Oscar for Best Director or a Palme d’Or at Cannes, and I wanted them badly. Boy was I kidding myself by placing too much value on items that rarely offer more than décor and bragging rights.

I wonder -- aside from helping you build a pedigree, what are awards really worth, and what does it take to earn these coveted honors? As artists we must aim to make movies that are great. To win awards, however, these films have to not only be better than great but also considered worthy of recognition by a select group of people with varied levels of experience, talent and/or accolades in their own right. I invited a few select award-winning filmmakers to shed some light on the matter. Here, they make it clear how important awards are in terms of being a driving force behind what they do and the influence, if any, it has on their careers.

"To be honest, I just don't see the point of awards in the arts," says Amir Motlagh, director of “35 YEAR-OLD MAN,” “WHALE” and “KHOOBI,” who adds "I just can't find a justification for them -- But, I'm sure they feel good for the family. Oh, you get a few phone calls and I'm sure grabbing an Oscar would be a little different. Let's be honest here, who wouldn't want an Oscar for pragmatic reasons alone?" 

"PIG" Movie Producer Mark Stolaroff accepts an award for Best Sci-Fi Feature from program director Michael Stackpole at the Phoenix Film Festival. '“PIG” won 10 awards and "THE HOUSE THAT JACK BUILT" has already won two awards; for certain kinds of films -- especially these two films, they (awards) are kinda crucial in a way but at the same time, they don’t do everything for you, says Best Sci-Fi Feature winner Mark Stolaroff, producer of “PIG,” “THE HOUSE THAT JACK BUILT” and “MANIC.”' 

Stolaroff continues "They’re crucial in that both of these films are in a position where they really need an award because neither of them got into Sundance, which is the gold standard for films, and a lot of films don’t get into Sundance - like “SHORT TERM 12,” which is a terrific film that won Gotham awards and other accolades but didn’t get into Sundance.

When you don’t get into Sundance, SXSW, Toronto, Cannes and related festivals, you have to prove something to the kind of crowds that go to festivals. So, you have to get into a lot other festivals to show your merit and then you have to win awards to measure up – otherwise, you don’t really have an art film. You may have a good film, but it’s not an art film. Particularly with "Pig," it’s a really unusual situation; the movie fits between an art film and a genre film, although we never thought of it as a genre film when we were making it. If you have an art film, then winning an award can make a difference with your audience. If you have a genre film like a horror film or a Sci-Fi film, an award doesn’t necessarily matter."

Student Emmy winner Akil Dupont, director of "UNDERGROUND" and "SILHOUETTES" says "I’ve won 25 awards as a filmmaker so far; they come with some things – some tangible things! The majority of them – probably more than half – did not come with anything, and some didn’t actually give me a physical award. It ranges from nothing beyond an “attaboy” and acknowledgement on a website to money and mentorship.

Director Akil DuPont on the set of his fairy-tale romance drama "SILHOUETTES."Inside the industry, my theory is that people are not as concerned with awards as they are with other things because film is still a business.

The monetization of your product is what they’re most concerned with – how can it still turn over to make money, because you still have to make money with these films.

Some people think that awards are sorta the gateway into the industry; and in some sense they may be but in another sense, people in the industry still want to see what you can do moneywise.

What filmmaker doesn’t want the Academy Award?!! We all want one – an Academy Award, a Golden Globe, an Emmy, a Tony, a Grammy. I was hoping that "UNDERGROUND" would be nominated for a Short Film Oscar. Right now, I think this movie has the DNA for the stage, so I’m looking to see what we can get, as far as going to Broadway is concerned."

Ari Gold, director of "ADVENTURES OF POWER," "HELICOPTER" and "CULTURE" says "The student Oscar has been helpful in the sense that when I’m soliciting investment or collaborators, it makes people take me a little bit more seriously than they might otherwise. That doesn’t necessarily mean direct employment but it means that my calls or emails are slightly more likely to be answered. Interestingly, I got a bunch of Audience Awards for my feature film ("ADVENTURES OF POWER") and those have had no impact whatsoever, which is a sorta interesting contrast, but that’s the reality.

Director Ari Gold awarded for his contributions to independent film.You can daydream about getting awards but I think I’m smart enough to know that’s not the point. For me, I like to connect with an audience and know people are responding to my work, so that always is the most powerful kind of motivator. Does that mean that if I make something that reaches a huge audience that I’ll be exponentially happier? No, of course not. Although it seems like it would be nice, I’m aware that it’s a fallacy; the more successful people get, the more successful they think they need to get.

So, I want my work to be satisfying to me and satisfying to people who watch it – that’s the biggest award."

My Own Thoughts on Awards

Our culture views awards as a stamp of approval for being the best, under the expectation that a movie and its maker have been vetted against other projects of equal or higher merit. So who is to say that you and/or your work are not one of the best -- all based on whether you’ve been honored for your contributions to a particular industry or for a certain creation? Martin Scorsese, one of the greatest directors in the history of American cinema, has claimed many accolades including an American Film Institute (AFI) Lifetime Achievement Award, yet, got snubbed by the Academy of Motion Picture Arts and Sciences (aka the folks in charge of the Oscars) on many occasions.

The man who helmed “Goodfellas,” “Taxi Driver,” “The Departed” and “Hugo” is no less talented, enthusiastic about his work or successful just because he lacks those golden statues. In a career that spans over 30 years, Scorsese has received 8 Academy Award nominations for Best Director and one win, to date. If it’s tough for a legendary director such as Martin Scorsese to win an Oscar, I must come to terms with how little weight awards really hold, where matters of career satisfaction and success are concerned.

Film Still | Amir MotlaghSo the way I see it, going after nothing more than shiny statues, medals or plaques after all is said and done would be selling myself short; it does not justify the amount of blood, sweat, tears, time, money and resources that are put into each independent film and the disappointments, rejections, failures and learning experiences that come out of a project.

Make no mistake about it – I do still like awards and would appreciate those that come my way. I am just working on readjusting my priorities because accolades are just not enough to keep me on this filmmaking train. I don’t want to make movies merely for a chance at winning awards, given that there is no guarantee I’ll be in the running for one and they usually don’t come with anything other than a title and something pretty to look at.

I figure, the best way to benefit from awards is by using them as leverage, since a lot of them don’t automatically come with deals and offers for the next gig.

Stay tuned for more reflections and observations on the journey of independent filmmaking!

In the meantime...

• Motlagh's short films such as "Khoobi" can be watched online
• Gold's comedy "Adventures of Power" is available on YouTube
• Stolaroff's mystery/Sci-Fi "PIG" movie is viewable on DVD and through iTunes
• DuPont's full historical musical "Underground" film is online to watch

Does winning an award have any bearing on whether YOU’VE done good work?

Can YOU be considered among the best in your field, without being the recipient of awards?

©2014 All Rights Reserved

*Photos courtesy of DuPont Productions, The Pig Picture and Ari Gold Films. 

Why Make Movies? An A-to-Z Challenge Theme Reveal

Chris Chambers in Steve Balderson's action crime comedy "Culture Shock."When was the last time you stayed at a job, in a relationship or pursuit of a goal that cost you more than what you earned from doing it?

How many times have you said to yourself “maybe tomorrow things will improve” only to wonder what happened along the way? No one in their right mind would continue in an undesirable situation or on an unforgiving path, yet, I find myself wondering what I’m doing making movies.

Let it be clear that when I say movies and/or film, I’m referring to independent films. This is not to discount or deny the many difficulties that take place on studio-backed movies in Hollywood. Martin Sheen collapsed from a heart attack during the production of Francis Ford Coppola’s “Apocalypse Now” -- in a tumultuous turn of events that also included Coppola suffering an epileptic seizure; the untimely deaths of Paul Walker and Philip Seymour Hoffman have the forces in tinsel town scrambling to salvage the next installments in the “Fast and Furious” and “Hunger Games” franchises. If it’s hard for the big-wigs, then it’s ten times more difficult for those of us who are trying to make our own way outside of the “system.”

Independent films take so long, require a seemingly never-ending stream of sacrifices and we (filmmakers) have to overcome obstacle after obstacle without ever knowing if we’ll achieve our goals. Maggie Hadleigh-West and her camera crew were robbed at gunpoint during their first day of production on a documentary. Audiences in Washington D.C. got up out of their seats, yelled expletives, threw things at the screen and then walked out of the theater during a showing of Steve Balderson's comedy drama “Watch Out.” I haven’t begun to even scratch the surface in terms of creating a body of work where motion pictures are concerned. Based on the difficulties that I’ve had to deal with so far, however, I’m wondering – what’s it all really worth?

Joseph Gordon-Levitt on the set of his directorial debut 'Don Jon.'I often find myself questioning whether or not I want to do this again. So, during April, I will be sharing my observations on the 26 (or less) reasons why writers, directors and/or producers make movies. In these posts, I also aim to include the perspectives of fine, visual and performance artists at various stages in their careers. It is by exploring such observations on filmmaking from A-Z that I hope you will walk away with at least one -- if not two things:

• Knowledge of a new or little known movie, album, book or related work that you want to check out

• Inspiration to apply aspects of the subject matter to an area of your own life and/or goals

For me, I’m just trying to figure out how to justify or make sense of the ongoing stumbling blocks, rejections, isolation and closed doors that I face at every step of the way in my projects. Maybe it’s the universe telling me that I need to do something else. Maybe it’s a challenge that is meant to aid in my growth and prepare me for the next steps. Maybe I’m just looking at it all wrong or neglecting things that I should be paying more attention to. Maybe I have different goals than when I started pursuing film.

Or maybe, just maybe I don’t know what I want. No matter the case, I do know one thing – the need to figure out a justification for this masochistic path called moviemaking is urgent like a motherfucker.

When (and even before) a film is in the can, it seems like nobody even cares. Filmmakers have to constantly be on-the-go, trying like hell to convince people to watch our work, while all along hoping that they end up liking it or some aspect therein. It reminds me of the Linkin Park song – “I tried so hard and got so far but in the end, it doesn’t even matter.”

We bust our butts to make these movies and then in the end, it doesn’t matter because it seems like no one wants to be bothered watching them or buying them or renting them.

If people don’t want to be bothered checking out independent films, and crews are reluctant to work on them, and actors don’t want to help make these projects be all they can be, and media/industry/communities won't cover our work and theaters/TV channels aren't interested in paying these projects any mind, then why should we even bother making them? This is the question that leads to the central focus of my 2014 Blogging from A-to-Z Challenge theme. So find yourself a good seat, grab some popcorn and enjoy the show!

Also, you might want to keep the kids away because the upcoming posts are approved for audiences age 17 or older. There will not be blood but there will likely be strong language. Reader discretion is advised. I approved this message. 

Photos ('Culture Shock' and 'Don Jon,' respectively) courtesy of Anthony Pedone and Daniel McFadden ©2013 Relativity Media, LLC. All Rights Reserved.

The 3 Influencers in My Film Festival Submissions Process

Ever wonder how long it takes for a movie to be released after it’s made? Join the club. I’ve asked myself the same question, albeit for different reasons of course, upon completing “ABYSS: The Greatest Proposal Ever.” Knowing this short film would not be on its way to Utah to dance alongside the major industry players any time soon, here are some major factors that helped me figure out which baskets to put its (possibility for) theatrical screening eggs in.

Shouts out to Michael Hennessy who expressed interest in learning how I selected festivals to submit my movie to, and the process I used to do so.

Picking Festivals Based on Recommendations:

I go through the list of domestic and international Oscar-qualifying festivals for short films, to find places to submit my work. Being sanctioned by the Academy of Motion Picture Arts and Sciences gives festivals a certain type of advantage in terms of attracting press attention and they usually have industry connections. These types of festivals also tend to give out valued prizes (monetary, in-kind goods, distribution, etc.) for films screening in competition. So, I’m likely to cater my film festival submissions toward events that have a high profile in the eyes of the people who are in charge of the Oscars.

I also read through MovieMaker Magazine’s 25 festivals Worth the Entry Fee, to find film festivals where my movie could be submitted for consideration. In addition, I used nominees and winners of MovieMaker’s reader-survey for the Coolest Film Festivals in the World, to gauge where it would be best to submit my short film. 

A portion of the film festivals I selected to send my submissions to were also influenced by recommendations from fellow filmmaking buddies of mine.

Picking Festivals based on My Own Film Festival Submissions Criteria:

Do they program films that have black people in them? On the surface, this might seem like an arbitrary factor in determining where to submit a film but I believe that the program lineup is a reflection of what festival organizers are interested in supporting. If there isn’t a diverse lineup of films featuring and/or made by people who look like me or Latino directors, Mexican directors, etc. in a festival’s most recent schedule, then I’m less likely to believe that my film stands a chance at being showcased at said event.

Are there any black audience members in attendance? I might consider submitting my work to a film festival – even if its program lineup is less inclusive than preferred – if there is a noticeably diverse cultural landscape among the ticket-holders that the event attracts.

Picking Festivals based on a Varying Degrees of Another Movie:

I look for films that have certain elements or hooks similar to mine, and then submit to the festivals where they screened and/or won awards. These characteristics could include anything from technical aspects, to the story or genre. In the case of “ABYSS: The Greatest Proposal Ever,” I looked at festivals where movies such as “How to be Black and Sexy” and “Snow on Tha Bluff” played in previous years. Since my short film was shot on HD, I sought out film festivals that programmed movies that were made on video.

Since the main character's plight involves SEPTA and he hails from North Philly, I added the Philadelphia Film Festival to my list of places that might be receptive to the movie, given its “local” tie-in.

As I continue to play the film festival waiting game, however, I’m quickly learning (or sometimes being reminded of) quite a few valuable lessons including the importance of being realistic about what the distribution and exhibition prospects are for my project.

Although there are film festivals that I hope to NEVER submit a movie to again, there are several film festivals that I look forward to attending and hope to play at – if only just once – sometime in the near future.

When was the last time YOU went to a film festival?

How many local film festivals are in YOUR town?

What would persuade YOU to attend a film festival?