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In a movie, the revelation of the backstory can be mind blowing or a miserable burden in the telling : how much, when, what for, from whose point of view, at what progressing rythm (Chinatown) or unique intensity (Runaway Jury, Psycho) is the ultimate identity and vision of the writer.
To some extent, the mastery of backstory is the central crossroad of the craft, the right path to any story, and the most personal artistic signature of the writer.
Let’s be clear : while the message of stories and even our intention as writers are most of the time noble and sincere, the « craft » is mainly about trickery, cheat, duplicity.
And it’s fun !
There, in L.A., an enthousiast team led by Karen Gilmore and Joshua Dos Santos, passionate about movies and screenwriting, and runninng this delicious website Reel Artsy, dedicated to « quirky, awkward, offbeat indie films. »
Twitter and the passion for movies were the key to connect.
It could be easy to blame it on education, as it is commonly admitted. Blame it on parents, on culture, on social traditions. On individual limits or psychological flaws. On shyness and personal weakness.
Thruth, it seems to me, is that it relates to so much deeper layers of the human and animals minds.
If you are an artist, chances are you are a perfectionnist, an obsessed soul always in search of gold. Well, I am. So let’s celebrate together a simple truth : we’ll never get a hundred per cent satisfied. Nothing we’ll ever write will meet all of our expectations.
Some might, a few lines and pages may pass the cut, and even bear the test of time. But so few indeed. So let’s open our eyes once for all on this.