zenfilmmaking

[zenfilmmaking]

Zen Filmmaking & Super Hero Zen Cinema From Hawk to Max Hell to Jack B. Quick Space Sherif

By Scott Shaw

For obvious reasons, I’ve spoken and writing a lot about my film work with Donald G. Jackson. We created a new brand of cinema, ZenFilmmaking! Whether it was via interviews, through the articles and/or the books I’ve written, or via my teaching seminars and courses on filmmaking, I have presented a lot of the facts about how the films we made, (as a team), were created: the philosophy, the story development, the goings-on behind the scenes, the trials and the tribulations, and all of that kind of stuff. The reason for these presentations are obvious. I mean, let’s face facts, those films, and particularly the Zen Filmmaking philosophy we created, has become a big part of my life.

As I’ve said in the past, Don was a Comic Book guy. Me, not so much. This may have all had a lot to do with where and when we each grew up. Don, in a midwestern, semi-rural/industrial town, Adrian, Michigan, during the 1950s and me on the dark side of L.A. during the 1960s. He evolved one way and me another. He loved the fantasy of the Republic Serials and Comic Books. Me, I was more drawn to the urban nature of Motown and Blaxploitation cinema. We did, however, come together with our love for Spaghetti Westerns, Samurai Cinema, and the abstracts works born from 1960s Psychedelic Cinema.

Due to Don’s love for Comic Books, and Comic Book Cinema; especially on a few of the early Zen Films we created together, there was a Comic Book, Super Hero element presented in each of them.

The main Donald G. Jackson and Scott Shaw films that I can say were the most Comic Book, Super Hero influenced, were: The Roller Blade Seven, Max Hell Frog Warrior, and Guns of El Chupacabra. In each of these cases, it was Don who came up with my character’s name. Where the idea(s) for the character names came from, you would have to ask him, as I don’t know. I just heard them and agreed. Sadly, you can no longer ask him that, however, as he passed away over twenty years ago. The character and the character development were, conversely, created by both of us contributing ideas. We were a dynamic team.

Was Hawk in the Roller Blade Seven a Super Hero? Was Max Hell in Max Hell Frog Warrior a Super Hero? Was Jack B. Quick, Space Sheriff, in Guns of El Chupacabra a Super Hero? Those answers are, of course, debatable. I would say more of an Anti Hero. But, the Super Hero, Comic Book influence is present in each of those characters and active throughout all of those films.

There are truly some grand Super Hero’s in Comic Books and on the Silver Screen. In Comic Books and Graphic Novels, and with films that have large budgets, anything is possible. The sky’s the limit.

In Comic Books, anything can happen. The mind of the creator dreams it, puts it to paper, and the character lives. In high budget films, again, what comes from the mind of the creator can be made into a reality. On films with a shoestring budget, like the Zen Films Don and I made, this is not the case, however. You need to keep your ideas bound by the realms of your reality. The reality of your budget.

So, was what we created in the realm of Super Hero Cinema on par with the Bigs? Of course not. We knew they could never be. Thus, what we presented to the audience were the characters exhibited via the understand that they are living in an abstract reality. What is witnessed by the audience is the intent more than the actualization.

For example, in Armageddon Blvd., we presented a character named, The Rag Doll. Simply her physical movements, and the way she completely embraced her character, was a true presentation of Comic Book Mentality and Cinematic Art. This is the same with the character, Mime Girl, who appeared in a couple of our Zen Films and Music Videos; most notably in, Mimes: Silent But Deadly.

That actress completely embraced her role. To watch both of those actresses, they completely OWNED their characters! True art. True acting.

What I am saying here is that what Don and I created, via the very limited budgets we possessed, was at least partially inspired by his love for Comic Book Culture and our combined love for Artistic Cinema. Thus, though we did not possess the budget to take our productions to the place where they could be compared with the high budget Action Character Genres, what we did was to make Cinematic Art within the constraints or our limited resources.

Aside from Super Hero Central, the Zen Films I made, not in association with DGJ, were not Super Hero Orientated. I was and am far more interested in presenting the urban landscape. As abstracted as my film presentations of that urban landscape may be to some people. Certainly, my Zen Film like Samurai Vampire Bikers from Hell and Samurai JohnnyFrankenstein have a Comic Book quality to them. But, that it is not really their focus. Their focus is human interaction in the character’s living of their life.

More to the point, I believe what we, and particularly I, created was a genre onto itself, defined by nothing created before. Namely, a Zen Film.

Did I ever feel like a Super Hero in those films? No. I knew I was just a guy, with a background in the martial arts, trying to make a piece of Artistic Cinema.

The ultimately question becomes, when you attempt to pigeonhole any artistic project into a specific genre is, are you giving it credence by doing so or are you simply diminishing what it was truly created to be? That’s the question you need to ask yourself whenever you observe any piece of art, via whatever form it may take on. Are you judging it based upon what you believe you already know, via comparing it to projects of a similar category, or are you allowing it to be its own singular presentation, dominated or judged solely on its peculiar unique boundaries of creation?

To take this conversation a bit further, I recently thought about that multi-part parody that was made about Zen Filmmaking and myself, created by students at Grand Valley State University. I popped over to YouTube, where it is presented and found it was filmed seventeen years ago. Wow, time flies!

As I have stated in the past, I never met or conversed with any of the actors or filmmakers associated with that project. Except for one of the participants who contacting me before filming, asking me about where we got the Chupacabra monster, but when I told him that it cost like thirty-thousand dollars to create, I never heard from him again. I wonder where those people are now?

The guy who played Scott Shaw did a very funny portrayal, I thought. As did all of the actors. They truly hit the nail on the head, (as the old saying goes), in their presentation of the wildness of the Zen Filmmaking mindset. Particularly the Zen Films I created in association with Donald G. Jackson.

That parody was done at a time when Zen Filmmaking, Donald G. Jackson, and myself were on the lips of many people in the film industry and the surrounding communities. Times change, however. As is always the case. Now, it seems, not as many people speak about Zen Filmmaking.

Zen Filmmaking is not the only Art-Based and new style of cinema to fall from mass public discussion that rose near the end of the twentieth century. New styles of cinema like Dogme 95 have also seemingly fallen by the wayside.

Still, there are those who do discuss and attempt to describe and pick-apart Zen Filmmaking. The thing about those who do is, they generally get the understanding of Zen Filmmaking and the motivations of Don and myself totally wrong. But, that’s okay, that’s just life. People who aren’t busy living their own life and creating their own brand of cinema, or other artistic endeavors, need something to speak about.

The thing is, at the root, at the heart of all artistic endeavors, is the artist. They are the one(s) who create.

Not everyone is an artist. That’s fine. I’m sure people like that are doing other important things that contribute to this Lifescape. With this being said, as the artist is the creator of that something uniquely their own, this always needs to be at the forefront of any discussion about what that artist created; not simply a judgmental overview about what one individual thinks or interprets or claims to they understand about what and why that artist was doing what they were doing.

Don and I came from vastly different foundations, yet, we came together and created a new style of cinema. Sure, it was me who laid down most of the formation and philosophy for the method. That’s just who I am. Don was way too scatter for all of that. But, it was our coming together that created the inception and the means for this ratified method of filmmaking to be developed. Without that meeting of the minds, the formalization of Zen Filmmaking may never have taken place.

With all creative teams comes the input of the two or more people lending their understanding to the project or the projects they create together. This was the case of Donald G. Jackson and myself. Like George Lucas has stated about the characters he created for Stars Wars, he envisioned himself as the Luke Skywalker character. Though created on a vastly larger scale than anything Don and I ever did, what we each brought to the table was our interpretation of that Hero, Super Hero, Anti Hero, or just that Unique Character that was not just your average Any Body, because no character, in any of our films, was just that average anybody. They were all unique pieces to the puzzle of a cinematic universe created just slightly outside the boundaries of average reality.

I believe that the key to viewing, studying, researching, or discussing any form of cinema, or any type of art, you must step into the mind of the person or persons who are the creator. You must understand it from their perspective; their advantages and their limitations. For if you truly wish to understand the inception and the truth in any piece of art, via whatever form it may take, you must remove yourself from the equation. As is stated in Zen, if you wish to truly understand anything, you must become nothing. For all the things you believe you know, is only your ego talking. You can never know what any other person knows. At best, you can only guess.

If you wish to truly understand and appreciate any art, be silent, let the piece of art be what it is. For there is the only place where a true understanding of art may be gained.

Copyright © 2024—All Rights Reserved

This article can also be found on Zen Filmmaking.com @

Zen Filmmaking & Super Hero Zen Cinema From Hawk to Max Hell to Jack B. Quick Space Sheriff

[zenfilmmaking]

Scott Shaw, Zen Filmmaking, and the YouTube Generation

Originally from the Scott Shaw Blog

 By Scott Shaw

How much time do you spend on YouTube? No really, how much do you spend on YouTube? I mean, there is a world of free to view Everything on that platform, as well as more how-to stuff than you or I could ever have imagined.

YouTube is really not all that old. It was launched in 2005. That’s just about twenty years ago. Do you even remember life before YouTube? It is kind of hard to do so if you think about it.

Google actually had its own video platform before YouTube. But, it’s gone. Why? Only the powers that be at Google can answer that. It was pretty good.

There were a couple of other sites out there, on the world wide web, before YouTube that used to focus on movies and video presentation. I remember my Zen Filmmaking brother, Donald G. Jackson turned me on to one site, before his untimely passing. He had uploaded his film, Raw Energy to it and suggested that I may want to upload one or more of my Zen Films as well. Which I did. I uploaded the first version of Samurai Vampire Bikers from Hell. So, if you were around back then, and you got to see it then, you were able to view a very-very rare cut of that film. But, that site is long-long gone.

There was no money to be made, on that or other similar sites, like some people now do on YouTube.

I don’t make any money off of YouTube. First of all, I hate those pre and/or during video ads. So, I just don’t want to put viewers of my films through any of that. And also, because a lot of my films, especially my earlier stuff, (the one’s that are the most watched), are Adult Only, so you can’t monetize those anyway. Plus, YouTube doesn’t really pay very much. Not enough to make any difference in my life. So, why bother??? Just keep the Zen Filmmaking flowing for free.

The reality of life is, the days of the VHS, the DVD, and Blu-ray are over. Do you know anyone who watches any of those anymore? I don’t. Not even me. Not unless I am forced to. Now, it’s all about the Streaming. Thus, YouTube rules the game. …YouTube at least for those who don’t want to pay for the other more cash-involved streaming services.

But really… You can find a lot of cool, cutting-edge stuff on YouTube. Stuff that you will not see nowhere else.

So really, how much time do you spend on YouTube? If you don’t spend any, you are probably a more refined soul than myself.

My generalized focus on the platform is music videos and when I need to know how to do what I need to know how to do. It’s a great place to learn it. Also, I like to check out the demos of synthesizers, cameras, and the like. Mostly, there’s always something to learn or to waste your Life Time while viewing.

Zen Filmmaking has a home on YouTube. But, you probably already know that. I’ve uploaded a lot of my and Donald G. Jackson stuff onto the platform. And, it’s up there for FREE! So, if you feel like wasting some time, and maybe delving into the evolution of my style of filmmaking, you can check it out.

Or, and maybe even better yet, you can create your own cinema magic and show the world your creative skills.

YouTube, you can’t live without it. Or, can you?

Copyright © 2025—All Rights Reserved

[zenfilmmaking]

Every Scott Shaw Movies and TV Shows In Order [With Our Favorites Highlighted Throughout]

Here's a fun page on Serp Media where they list a bunch of my Zen Films and films I have appeared in with posters and info about each flick. Thanks!

Every Scott Shaw Movies and TV Shows In Order [With Our Favorites Highlighted Throughout] 

[zenfilmmaking]

The Guy Who Never Made a Movie/The Guy Who Never Wrote a Book

By Scott Shaw

Here’s a piece I came upon that I wrote back in 2018. It’s kind of revealing and still holds true. I hope you like it.

I find it rather interesting/amusing that every now and then someone will heads-up me to the fact that some someone is out there attempting to cast shade on me as a filmmaker—criticizing my films and/or my life in one derogatory way or the other. I was pointed to one today. The funny thing is, and the thing that anybody who reads that post does not realize is, that it was like ten years ago or so that this same guy first contacted me directly saying something negative and telling me he could and has made a better movie than I ever could. I gave him my address and told him to send me a copy. Of course, he never did as he has never made a film. Yet, there he is, still out there all these years later, throwing around negativity focused at me and I imagine other people, as well. But, who is he really angry at? Me, for making movies or himself for never making one?

Maybe twenty years ago, when my first book on Hapkido came out, I was contacted by this school owner telling me how terrible the book was. I suggested that he write one. He told me, of course he would, and it would be so much better than mine. Great, I told him, I look forward to reading it. But, that book was never created. I guess he either never wrote the book or he found out how impossible it is to actually get a deal with an established publishing company. All these years later, still no book on Hapkido from him…

In the same vein of the martial arts, every now and then I will read how someone is trying to alter the facts and make me or some other established martial artists look bad. As I have long discussed, this is really an epidemic among modern, low-level martial artists who have found an outlet for their frustrations via the internet. But, why is that? The martial arts should be all about personal growth and positive empowerment. But, for those who have not truly achieved, they find solace in embracing negativity to cover-up for their own lack of personal accomplishment.

As we all can understand, there are the people out there (in cyberspace) just trying to cast shade on others by altering facts or just pointing any reader with a mind geared towards negativity in that direction. For some reason, some people are not secure within themselves and thereby have to attempt to find fault in others. The point being, in life, the negative musings of others can come at you from people across the spectrum of life: all backgrounds, all occupations. But, words are just words. The question one must always keep in mind is, “Why is that person saying what they are saying?”

You know, when I first began putting the formalized foundations for Zen Filmmaking together; the words I spoke, the classes I taught, and the writing that were published were all designed to help the person who may be having a problem getting his or her film actually made. The teachings were put together as an inspiration. This is still the case. But, back then, all the so-called, know-it-all, wanta-be filmmakers were saying that Zen Filmmaking was all wrong. A film could never be made without a script. But, that was never the point. The point was, JUST DO IT! Simplify the process and get it done! Since that time, I occasionally still received the same words of criticism. Sure, there are a lot of people who have made a lot of indie films since I first came up with the philosophy of Zen Filmmaking almost thirty years ago. But, there are also a lot more who have failed. …Failed for whatever reason. Mostly, as I have said so many times, the reason people fail in their filmmaking process is their expectations. They want their movie to look like a several million-dollar production, when all they have is a few hundred dollars. Or, they wait and wait, hoping that big break will come their direction but it never does. But, if you let go of your expectation, if you let go and allow yourself to be free in your vision, you can actually get something done. You can actually make a movie or create anything else that you want to create, and you can do it with your own personal style.

This is the same with all things in life. Maybe you have a vision. Maybe you even dislike what someone else has created and want to do it better. But, until you have shown what you can actually do that and put it on the same chopping block of public opinion—exposing it to the same damnation, then all you are is voicing words that holds no true validly.

Maybe you don’t want to make a movie. Maybe you don’t want to write a book. And, that’s great. That’s who you are. But, if you do, then do it. Sitting around telling someone else how bad they are, how bad what they are doing is, means you are doing nothing.

Copyright 2018—All Rights Reserved

[zenfilmmaking]

Above is a link to an interesting and insightful, recently published, article written about creating films without a screenplay. The author, Sean Welsh, discusses Zen Filmmaking as a part of their thesis. Thanks!

I wish all the people who discuss Zen Filmmaking, on-line and otherwise, possessed the critical thinking to actually research the craft and present the genre’s foundations, understandings, and philosophies as well as this author has.

[zenfilmmaking]

Zen Filmmaking: The Art of No Story

By Scott Shaw

As I state, way too often, there is a rarely a week that goes by that I do not receive questions about (particularly) The Roller Blade Seven, in addition to Max Hell Frog Warrior, Armageddon Blvd., Samurai Vampire Bikers from Hell, Vampire Blvd., Guns of El Chupacabra (which has just been licensed to RiffTrax), and the list goes on and on; you name the Zen Film, I get questions about it. All good! I’m happy to answer, whenever I can. I have had several really good chats about the truth and the realities of the movies and filmmaking in general with some of those people. I also get a lot of question about why don’t I/will I ever do another Roller Blade Seven or Max Hell. Plus, for and from some very astute studiers of the Zen Filmmaking Legacy, I am often asked, will I ever do another story-driven film at all, as I haven’t made a narrative film in about fifteen years?  …And, why did I move away from that style of filmmaking onto the more freeform Non-Narrative Zen Films, that I currently create?

There are a million reasons, of course, all based in my own mind, as I am the artist and the creator of my products. Mostly, it has to do with an ever-evolving freedom of art.

To discuss… I’ve read and heard, ever since I got into the filmmaking game, that the storylines of some of my films don’t make a lot of sense. Whenever I hear or read such a statement, it invokes many amused emotions in me. First of all, if you are saying that, you are not looking too deeply into the story development of that film. But, more importantly, who cares? For those who make such a statement, have you ever even looked into my philosophy about filmmaking and the stories these Zen Films are based upon? If you have, you would have known that one of the primary tenets of Zen Filmmaking is that the stories have already all been told, (so why bother retelling them in a fake-coherent manner), and/or that a story has to be lived before it can be written down. So, allow it to evolve in a natural process, whether it makes sense or not. Look at any of the interviews or discourses I, or Donald G. Jackson, ever gave about Zen Filmmaking, and this premise is made very-very clear. I/we never cared about the story development. It is only used as means and method to create a cinematic work of art revolving around a projected premise. But, that storyline is not essential, in any manner, to the art of that film. Moreover, stop trying to compare a Zen Film to a traditional film. For it is not. It never was intended to be.

What am I saying here? If you are looking for concise story development, a Zen Film is intentionally the wrong place to seek that out. If, on the other hand, you are looking for a visual movement of time and space that peeks into a particular altered reality, this is what you may find in a Zen Film.

I mean really, what does a critic do? Answer: Looks for something to criticize. But, is that a conscious place to live your life from? You may love or hate a piece of art. That’s human nature. But, do your homework before you criticize it. Attempt to truly understand any form of art from the place where it was created, not simply defined by whether you like or dislike it, while seeking out the flaws you feel it possesses.

That’s the thing about Zen, seeking the perfection within the imperfection. 

Each artist presents their own interpretation of art in their own unique manner. And, this goes across all genres of the spectrum of art. Once upon a time, abstract art was new and unique. When seeing it for the first time, it was something totally new and different. Sometimes, so different that even to this day, many people do not like or appreciate it as art. But, loved or hated, it is the expression of that artist’s vision of art. This is the same with film art. My cinematic presentations are defined by the fact that the story does not matter, so stop looking for one.

Therefore, in answer to the question(s), would I ever do another story-driven narrative film? Sure, if I found the inspiration and the people to surround the project with positive energy. But, till that time, it is currently my focus to make the undefined Non-Narrative Zen Film. A space where, obviously and intentionally, the story does not matter. 

You can’t criticize the storyline when there intentionally is no storyline.

Copyright 2024—All Rights Reserved

[zenfilmmaking]

The Two-Day Movie

Here is a chapter from my book, Independent Filmmaking: Secrets of the Craft that I thought some of you filmmakers out there may find interesting.

By Scott Shaw

When I tell people that they should film their independent movies in two days, they most often respond, “That’s impossible!” But, I can tell you from personal experience, that, “Yes, it is.” In fact, I have made an art out of shooting entire feature films in just two days.

This process began when I made Samurai Vampire Bikers from Hell. Making a film this quickly was in direct response to the months-upon-months Don Jackson and I took to make The Roller Blade Seven.

While making RB7 I came to the realization that though all of the time we had spent during production had, for the most part, been a fun experience, it truly did not make the movie any better.

Now, RB7 was filmed in numerous locations—many of which were a long distance from our offices on Hollywood Boulevard. The truth being told, if you are going to shoot at that many locations, with that much of a distance to travel, then, “No,” you probably cannot make your movie in two days. But, if you keep your locations central to your homebase, then this style of filmmaking is very doable.

Why

The question is often posed to me, “Why make a film in only two days?” The logic is simple.  First of all it’s cheaper. If you are paying or feeding anyone on your set, then keeping the shooting schedule limited to only two days cuts way down on your production costs. Secondarily, and perhaps most importantly, people have lives, people have jobs, people have families, people have egos that can be damaged, people have the belief that your production is not that great and they will soon be offered a bigger position in a larger production. In short, your crew and particularly your cast are going to move on. But, if you shoot your film in a minimal period of time, their interest will remain high and they will stay onboard until the completion of your production.

In addition, the two-day film really works great for the working masses, because you can make an entire film over the weekend. As most people work Monday thru Friday, their weekends are open. With this, they do not feel that they are being cheated out of their daily wage for taking part in your production.

Also, if you need to rent equipment, film rental houses have a policy that renting equipment for the weekend is billed as a single day rental.  So, if you need to rent equipment, you can save some money.

Scheduling

The successful two-day film is all about scheduling. Whereas many novice indie filmmakers go into their project with their script in hand and the idea of what they hope to film on a particular day, their schedule quickly becomes lost due to the fact that they are messing around with the lights, talking and joking with the cast, rehearsing their actors, and generally not getting anything done. If you are going to make a two-day movie, you need to know how to get things done!

On every film, there are things that are going to come up that you cannot anticipate and these situations will lead to your planned schedule being altered to some degree. So, what you want to do is to alleviate as many of those potential problems as possible. For example, you will want to KNOW your locations.

With the two-day movie you cannot just show up to a place you have never been to before and expect everything to go fine. Maybe everything will go fine, but that cannot be guaranteed.

So, when planning for the two-day movie, prior to shooting, you will want to visit, dress the sets, and setup your lights, if possible, at each location to fit the needs of your film. Then, on the day of shooting, when you travel to the location, it will be ready to go.

Scheduling the Actor

One of the primary things that you will want to do, particularly in regard to actor scheduling, is to only bring them onto the set when it is near the time for them to shoot their scenes. So many filmmakers bring actors onto the set and then have them sit around for hours, if not all day. Sometimes these actors are not even used if a filmmaker encounters any problems. This is just the wrong way to make the independent film.

What this style of filmmaking does is to alienate your actors from you and the production and cause them to be discontent.  By the time you are ready to shoot their scenes—if, in fact, you ever get around to them, their emotions are displaced and they are not happy—which may be projected into your film. So, the main thing you have to do is to decide the order of the scenes you are shooting on a specific day, in a specific location, and then bring the actors onto the set near the time you plan to begin shooting the scenes that involve their character.

There will certainly be lead or co-star actors and actresses that will need to travel with you to the various locations you are shooting at on a given day. What I find works best is to meet them at the first location, if this location is some distance from your primary set.  Shoot their scenes at this location and then move onto the next set or location.  You can either have them leave their car at this location or have them follow you.

The other thing to do is to meet at your primary set and then drive in one car with them.  With this style of transportation, not only can you discuss any questions they have about their character or the scenes you are going to shoot, but you can also learn about their personality.  From this, you, as a director, will better know how to guide them through their performances.

The main thing you do not want to do is to lose you actors in the process of the two-day movie.  Because, with no cast, there is no character development, and your movie can never be completed—at least not as scheduled. So, you want to keep your lead actors close.

The Look

The two-day film does not have to look low-budget. With a schedule of ten to twelve hours a day, you can shoot a lot of character development at a lot of locations and give your film the look of a production that took much longer to create and cost much more. Achieving this is easy. Chart out your locations, film your scenes at them and then move on to the next location. Don’t mess around. You can do that later. Get out there and get your movie filmed.

Those Who Get It

Let’s face facts, some people, “Get it,” and some do not. Some understand that an indie film is a low-budget collaborative process that is designed to be a stepping-stone pathway to make inroads in the film industry and some do not.  What you want to do when making the two-day film and, in fact, when making any indie film, is surround yourself with a cast and crew that “Get it.”  From this, you will alleviate many of the problems that may occur, particularly with your cast.

The Reality

The reality of the two-day movie is that you can create a very nice product while interfering with the lives of your cast and crew in the most minimal manner possible. With this, they come away with a new credit on their resume while having had a positive experience.

If, while editing you find that you need another scene or two to fix any holes in the story, as the production was so trouble free your cast and crew will be happy to come back and give you another hour or two.

The problem with long independent productions is obvious.  The cast and the crew become too involved in the lives of each other, and from this, the flaws in the production and individual personalities are revealed. This abrasive reality drives many people away. From this, the film can never be completed in the manner in which it was hoped. The solution; the two-day movie.  You get in there, you get it done, and everyone moves on with his or her life.

Copyright © 2009—All Rights Reserved

You can also read this article on, Zen Filmmaking.com

@ The Two-Day Movie

[zenfilmmaking]

Zen and the Art of Cinema: An Exploration of Zen Filmmaking

The intersection of Zen philosophy and filmmaking might seem paradoxical. One thrives on silence and contemplation, the other on spectacle and narrative. Yet, beneath the surface, both share a profound connection with the present moment, with the ephemeral nature of reality, and with the search for meaning. This essay delves into the concept of "Zen Filmmaking," exploring its core principles, how they manifest in cinematic techniques, and its impact on both filmmakers and audiences.

What is Zen Filmmaking?

Zen Filmmaking isn't a rigid genre but rather a philosophical approach to the art of cinema. It draws inspiration from Zen Buddhism, emphasizing mindfulness, simplicity, intuition, and acceptance. Unlike narrative-driven films, Zen Filmmaking prioritizes present-moment awareness, seeking to evoke an experience rather than tell a story. It often utilizes quiet moments, contemplative imagery, and minimalist dialogue to draw the viewer into a state of presentness, mirroring the Zen practice of meditation.

Zen Principles in Cinematic Techniques:

Mindfulness: Slow pacing, long takes, and focus on everyday details encourage viewers to be present in the moment, mirroring the Zen practice of paying attention to one's breath and surroundings.

Simplicity: Uncluttered compositions, natural lighting, and subdued color palettes remove distractions, allowing the viewer to focus on the essence of the image.

Intuition: Improvisation, open-ended narratives, and unexpected moments challenge conventional storytelling, reflecting the Zen emphasis on letting go of preconceived notions and embracing spontaneity.

Acceptance: Embracing flaws, imperfections, and the unpredictable nature of the filmmaking process reflects the Zen principle of accepting life as it is.

Impact of Zen Filmmaking:

Zen Filmmaking challenges conventional cinematic expectations, demanding patience and openness from viewers. Yet, its rewards are profound. It encourages deeper reflection, heightened awareness of the present moment, and an appreciation for the beauty and impermanence of life. For filmmakers, it can be a liberating approach, fostering creativity, intuition, and a connection to their inner landscapes.

Limitations and Criticisms:

Zen Filmmaking isn't for everyone. Some viewers find its slow pace and lack of clear narrative frustrating. It may also be challenging to maintain a Zen approach within the commercial constraints of filmmaking.

Conclusion:

Zen Filmmaking, though not a mainstream genre, offers a unique and thought-provoking approach to cinema. By emphasizing present-moment awareness, simplicity, and intuition, it invites viewers and filmmakers alike to connect with the deeper currents of experience, leaving a lasting impact beyond the fleeting world of the screen. While not without its limitations, Zen Filmmaking remains a valuable reminder of the power of cinema to transcend mere entertainment and offer a path to mindful reflection and self-discovery.

Further Exploration:

This essay offers a starting point for exploring the fascinating world of Zen Filmmaking. As you delve deeper, remember that the true essence of Zen lies not in rigid definitions but in personal experience. So, open your mind, embrace the silence, and allow the films to wash over you, revealing their unique Zen perspective on life and cinema.

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Zen Filmmaking: A Mindful Path to Storytelling

Zen Filmmaking is a philosophy of filmmaking that emphasizes mindfulness, presence, and intuition. It is based on the principles of Zen Buddhism, which focus on living in the present moment and letting go of attachment to outcome. Zen filmmakers believe that these principles can lead to more authentic and creative storytelling.

Here are some of the key principles of Zen Filmmaking:

Mindfulness: Zen Filmmakers pay close attention to the present moment, both on and off set. They are aware of their surroundings, their own thoughts and emotions, and the actions of others. This mindfulness allows them to capture authentic performances and create films that are true to life.

Presence: Zen Filmmakers believe that it is important to be present in the moment when creating a film. This means avoiding distractions and focusing on the task at hand. It also means being open to new ideas and possibilities.

Intuition: Zen Filmmakers trust their intuition and allow it to guide their creative decisions. They believe that their intuition can lead them to make choices that are more authentic and creative than those made through logic alone.

Letting go: Zen Filmmakers are willing to let go of attachment to outcome. They understand that they cannot control everything that happens on set, and they are open to the possibility that the film may not turn out exactly as they planned. This allows them to be more relaxed and creative in their work.

Zen Filmmaking can be a challenging but rewarding approach to storytelling. It can help filmmakers create more authentic, creative, and meaningful films.

from Bard

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The Maverick of Mindfulness: Scott Shaw and the Art of Zen Filmmaking

Few figures in contemporary cinema embrace the unorthodox as vehemently as Scott Shaw. An author, martial artist, and filmmaker, Shaw has carved his own path, rejecting convention in favor of a practice he terms "Zen Filmmaking." This essay delves into Shaw's life, philosophy, and cinematic techniques, exploring his unique contribution to the world of film and its impact on both audiences and the industry itself.

From Martial Arts to Mindfulness:

Shaw's journey began far from the silver screen. An accomplished martial artist, he found himself drawn to Eastern philosophy, particularly the tenets of Zen Buddhism. The emphasis on mindfulness, improvisation, and living in the present resonated deeply, influencing both his martial arts practice and his burgeoning interest in filmmaking.

Breaking the Script: The Core of Zen Filmmaking:

Shaw's films defy traditional filmmaking norms. Gone are the rigid scripts and pre-defined narratives. Instead, Zen Filmmaking embraces spontaneity, improvisation, and an intuitive approach. Actors receive minimal direction, encouraged to respond organically to their environment and each other. The camera lingers on seemingly mundane details, inviting viewers to slow down and appreciate the present moment.

Shaw's Signature Style:

Several techniques mark Shaw's films as distinctively Zen:

Minimalism: Simple sets, natural lighting, and subdued color palettes create a stripped-down aesthetic, eliminating distractions and emphasizing the essence of the scene.

Improvisation: Actors improvise dialogue and actions, mirroring the Zen emphasis on letting go of preconceived notions and embracing the unknown.

Long Takes: Uninterrupted shots immerse viewers in the present moment, fostering a sense of timelessness and contemplation.

Silence: Dialogue is sparse, emphasizing the power of nonverbal communication and leaving space for introspection.

Impact and Influence:

Zen filmmaking isn't for everyone. Its slow pace and lack of clear narratives can be challenging for audiences accustomed to Hollywood fare. Yet, for those willing to surrender to its rhythm, the rewards are profound. Shaw's films offer a meditative experience, inviting viewers to be present in the moment, appreciate the beauty of the ordinary, and contemplate the deeper questions of life.

Beyond Entertainment: A Path to Awakening:

Shaw's work transcends mere entertainment. He views filmmaking as a form of personal and spiritual exploration, an opportunity to cultivate mindfulness and connect with one's authentic self. This is reflected in his workshops and teachings, where he guides aspiring filmmakers to access their inner creativity and embrace the Zen principles that define his unique style.

Criticisms and Controversies:

Zen Filmmaking isn't without its detractors. Some find its approach self-indulgent and criticize its lack of clear narratives. Shaw's unconventional methods and independent spirit have also clashed with the commercial constraints of the film industry.

A Legacy of Innovation:

Despite the challenges, Scott Shaw remains a force of innovation in the cinematic landscape. His dedication to Zen principles and his unwavering commitment to artistic freedom have challenged preconceived notions of filmmaking and offered a unique perspective on storytelling. He continues to inspire aspiring filmmakers and push the boundaries of cinematic expression, leaving a lasting legacy as a true maverick of the art form.

Conclusion:

Scott Shaw's Zen Filmmaking stands as a testament to the power of embracing the unorthodox. By blending Eastern philosophy with cinematic techniques, he has created a space for contemplation, introspection, and a unique experience of the present moment. While not for everyone, his films offer a valuable alternative to mainstream cinema, reminding us of the potential art holds to elevate and awaken. As Shaw himself declares, "Zen Filmmaking is not about making movies, it's about making life." With this philosophy, he continues to guide both filmmakers and audiences on a journey beyond the screen, towards a deeper understanding of self and a profound appreciation for the fleeting beauty of the present moment.

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Scott Shaw and Zen Filmmaking: A World of Unconventional Creativity

Scott Shaw is a multifaceted figure in the world of independent filmmaking, particularly known for his unique approach called "Zen Filmmaking." Here's a breakdown of his style and its impact:

The Zen Filmmaking Philosophy:

No Script, No Rules: At its core, Zen Filmmaking rejects traditional filmmaking practices like pre-written scripts and rigid structures. It emphasizes spontaneity, improvisation, and trusting the creative instincts of the director and actors.

Collaborative Flow: Emphasis lies on collaboration and improvisation between actors and director. Dialogue is often created on the spot, allowing for organic reactions and genuine emotions.

Focus on Experience: The goal isn't necessarily a polished, plot-driven narrative, but rather capturing an authentic experience and conveying genuine emotions through the filmmaking process.

Scott Shaw's Journey:

Martial Arts and Eastern Philosophy: Shaw holds a black belt in several martial arts disciplines and draws inspiration from Eastern philosophies, incorporating their spontaneity and flow into his filmmaking.

Diverse Films: He has directed various films showcasing his eclectic taste, ranging from sci-fi action like "The Roller Blade Seven" to martial arts dramas like " Samurai Vampire Bikers from Hell."

Zen Filmmaking in Practice: Many of Shaw's films, particularly independent low-budget features, utilize the Zen Filmmaking approach.

Reception and Impact:

Cult Following: While not universally acclaimed, Shaw's films have garnered a loyal cult following who appreciate their unconventional style, raw energy, and unique humor.

Challenges: The lack of structure and reliance on improvisation can create uneven results, sometimes criticized for pacing and plot coherence.

Independent Spirit: However, Zen Filmmaking embodies the spirit of independent filmmaking, offering a creative alternative to mainstream studio productions.

Further Exploration:

Learn more about Scott Shaw's films and Zen Filmmaking on his website: scottshaw.com

Watch documentaries like "Scott Shaw: Zen Master of B-Movies" to gain deeper insights into his filmmaking process.

Explore other filmmakers like Donald G. Jackson, who have collaborated with Shaw and adopted similar approaches.

If you're looking for unconventional cinema that prioritizes creative freedom and spontaneity over traditional narratives, Scott Shaw and Zen Filmmaking offer a unique and fascinating journey worth exploring.

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Check out the Scott Shaw Zen Filmmaking Page on Pinterest. It provides you with links to a bunch of Scott Shaw and Donald G. Jackson Zen Film on YouTube.

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Here's my scenes in the Robert Altman film, The Player.

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Zen Filmmaking The Definition

Zen Filmmaking is a term used to describe a style of filmmaking that emphasizes simplicity, minimalism, and a focus on the present moment. It is inspired by the principles and philosophy of Zen Buddhism, which emphasizes mindfulness, self-awareness, and an understanding of the interconnectedness of all things.

Zen Filmmaking is characterized by a focus on the present moment, with minimal use of special effects and a preference for natural lighting. Filmmakers who embrace this style often use long takes and static shots, and favor natural sound over added music. They also often take a hands-off approach to directing, allowing the actors to develop their performances in a natural and organic way.

In Zen Filmmaking, the emphasis is on capturing the essence of a moment rather than trying to control or manipulate it. It is about capturing the natural beauty of the world, rather than trying to impose an artificial vision on it. The goal is to create a film that is true to the present moment and reflects the interconnectedness of all things, rather than trying to impose a preconceived idea or message on the audience.

Zen Filmmaking can be seen as a form of mindfulness in cinema, it's a way to capture the essence of a moment and share it with the audience. It creates a sense of intimacy and connection with the audience, as they are able to experience the present moment in a way that feels authentic.

Source: ChatGPT