Ben Flanagan lives in his hometown Tuscaloosa, Alabama where he earned Bachelor's and Master's degrees at the University of Alabama. He currently works for Alabama's top website al.com, focusing on Tuscaloosa news and entertainment. Ben also co-hosts the movie podcast Aspect Radio, available on iTunes. The show has had on several Chicago-based film critics as guests, including Filmspotting's Adam Kempenaar, The Chicago Tribune's Michael Phillips and The AV Club's Scott Tobias. Ben is also a contributing writer for Scripted Whim. Today, Ben thinks his 10 favorite movies are Reservoir Dogs, Annie Hall, The Graduate, Close Encounters of the Third Kind, All the President's Men, Rushmore, Double Indemnity, 2001: A Space Odyssey, 12 Angry Men and Fargo.
Ben on...
The Process
Staring at a blank screen until something trickles or vomits its way out doesn't really suggest a formal process, does it? I swear, it's like Joseph Gordon-Levitt in "Looper," standing by a giant cornfield until something just appears out of thin air. And once it does-- BLAM! Honestly, the process varies every time I write. Sometimes, I'm prepared with notes and drafts and things traditionally good writers use, while sometimes I impatiently right off the top of my head, with mixed results. Listening to music, watching YouTube videos, throwing my dog's tennis ball and other mindless activities tend to help me focus in on something. More than anything, a deadline gets the rear and gear.
New ScriptsJust something new, honestly. I'm sick of remakes, reboots, sequels, prequels and threequels. Frankly, if something stinks but is original, it'll at least get points for that. That's a bit like scoring points on a test just for writing your name, but I'm afraid we're moving in a direction where that's a standard. But I just want to open a script, book or film and get a whiff of that new idea smell. You want to read something by someone who really cares about the art form, telling stories, making you laugh or squirm, instead of someone going through the motions like it's a job.
Satisfaction Start a conversation. That's all you should want your writing to do; generate a dialog between the readers and a community who are as passionate about what you write as you are. Also just getting the opportunity to do it. If someone wants to print what you write in any capacity, you're lucky, even if you bust your ass. But writing about what I want to write about is a privilege I almost feel like I should keep secret until somebody upstairs approaches me and says, "Hey, you need to stop that."
KnowingWay back as soon as my parents let me watch good movies, even R-rated ones, when I was like 5 or 6-years-old. Nothing else made as much sense to me as movies, and I think that's still true. As soon as my dad or older brother turned on a Coen Brothers, Woody Allen or Hitchcock movie, that's probably when I started hearing dialog more clearly and getting that you won't hear language that good in just any movie. Someone pretty unique is responsible, and I felt urged to seek other works from them and like them. As for inspiration: Raising Arizona, Stardust Memories, Reservoir Dogs, Slap Shot, Paul Thomas Anderson, Pauline Kael's Reeling, Sidney Lumet's Making Movies, Bob Balaban's Close Encounters diary.
Advice You'll work with brilliant people who can answer most questions you have, so ask them But you can't rely on anyone to teach you how to do something. Don't expect anybody to babysit you and get out there and learn how to do things yourself by actually doing them, even if you start out doing them wrong. Also, to echo one director's advice, there are going to be so many people who tell you what you're doing isn't good or the right way, but just because they don't share your vision or enthusiasm doesn't mean you're wrong and they're right. If they have good advice or constructive criticism, take it, but don't compromise your ideas just because it makes them feel better