SARCASM IN SCHOOL

And now, a response paper to an interview with Charles Burnett which I found in a box of crap in my room.

This was written about two years ago.

Charles Burnett is a pessimist.  The racial issues that plague our country along with the future direction of mainstream cinema appall him.  I do not hesitate to admit that I have fallen in love with Mr. Charles Burnett.  I know he is a bit older than I am, (he earned his college degree before my birth): what's more, he's married with children, but I believe these mere obstacles shall strengthen our bond and add a sense of eccentricity to our relationship.  We could even buy a dog together.  

Alright, so I really don't love Charlie (although I'm still interested in the dog).  I do happen to find his interview, The House Where I Live very fetching.  I agree with his opinions pertaining to film students of today, and yet, as a film student I too feel insulted.  Burnett says, "If you go to UCLA where everyone is 19 years old, has seen the same movies, and has the same background, you cannot learn anything from each other.  It is no wonder that the kids can only think of selling movies."  Does this mean Charlie thinks I'm after the almighty dollar?  I don't care about making a difference, or enlightening society through my art?  And yes, it is art.  This is turning into one messy love-hate relationship with this guy.

Not only does Charlie have a problem with the future filmmakers of America (me), but he also doesn't appreciate today's audience (again me).  "Well," says Charles, "the audience also makes things difficult because they accept movies with no substance."  He thing complains about how some children preferred Wayne's World and Addam's Family Values over a film with substance.  I have a problem with this, and I'm not talking about how dated those films are.  Yes, I do cringe every time my mother prefers to watch the most recent Lifetime melodrama rather than a French New Wave film, but I have to admit I watch my fair share of bad films.  It is not that I love to watch them, I've realized that it is much easier to watch a bad film that a good one.  Some of my favorite films are ones I have only seen a couple of times because they are extremely difficult to get through.  Why, exactly?  Well, I'm not sure.  That would be an entirely different paper altogether.  

With all the negatives, Charlie adds one more subject to the mix.  Although hard to accept, I take Charlie's words as warnings.  He says, "Everything is a money problem in this business," which saddens me.  Cinema is the most expensive art form.  Because of this, business triumphs over creativity.  Charlie even refers to it as a business rather than an art form.  He continues to talk about the people that are involved in the making of a film, and how the direction can change very easily if there's not a definite idea within the writer or director.  As an artist, the last thing I would want is for anyone to butcher my though and ideas, so they could make more money.  I refuse to hand over my soul to the man, although I could then afford The Wayne's World DVD box set.  No.  I mustn't do it.

Within these last words, I would like to thank Charles Burnett for all the advice he has given me.  I'm sorry things didn't work out between us, but maybe it's better this way.  We will part.  I'll meet someone who will love me for who I am, and respect me rather than judge what romantic comedy I watch to help me fall asleep at night.  I will take the memories of Killer of Sheep, and will hopefully develop as a filmmaker.  And one day, Charlie, I'll live up to your caliber.