Can People Change?

(This is a different blog post then I usually do on this blog, but here it goes...)

Can people really change?  A timeless question, one the begs to be answered.  When I sat down to start writing the original script to THE HOUSE I knew I could go many directions with the film.  But, for some reason this question kept coming back to me: Can people change?  Now the answer that many people might give to this question is usually some quick, one sentence "yes" or "no" with some statement about their personal beliefs.  I'm not complaining about anyone's personal views, but simply giving a verbal statement is  very easy to do, but it could be hard to live by.

Can people really change?  Or are we stuck being who we are?  I have seen tons of people who have fought hard to change career paths.  Or, I have read or seen films where individuals try to beat a bad habit or are ex-criminals out on parole trying to make a second chance that works.  What is necessary for true change deals with the internal struggles of the human soul.  One part of them trying to keep them where they are while the other part of them wanting so much to change.

I find it is so easy to judge, but hard to change  We see on the outside the effects of choices someone makes, but do we know the causes that are hidden deep within.  There are so many layers upon layers of someone's past that we might not truly understand.  Now I am not making excuses for choices that people make, I am just simply stating that they are not isolated events.  Each event in someone's past is potential motivation for their decisions.

I find it interesting how many people say that people can change, but when a new tabloid article comes out about an affair, or someone doing or saying something stupid while they're drunk people quickly make comments like, "...that person can't change."

--Why do we do this?  Have these people fallen so quickly from the pedestal that we placed them on?

Acting asks a person to acquire empathy for a character.  To dig down and find out the "why" that motivates the character's actions.  Writing also does the same thing.  Whether novels, poetry, songs or screenplays: all ask emotional and psychological questions.  They might not appear that way on the surface, but part of a writer's soul ends up imprinted in their art.  Art is an expression of a artist's soul and a reflection of the world around them.

Back to the point:  Can people change?  What do you really believe?  And how can a person find the ability to change?  This blog post is open to any answers, because I believe that it is possible by asking the right questions we can lead to the possible answer...

Vlog 1: Hyper-realism and this is NOT the typical murder/mystery

 writer/director John Wayne Bosley speaks about what makes THE HOUSE unique.  He also talks about his unique filmmaking style... about hyper-realism, art.

Breaking the Mold: I DON'T typecast actors

It's been a long held tradition, especially in the film studios, to type-cast an actor into certain roles. People can debate when this started.  Was it during the Golden Age of cinema or before.  All I know is that it is a long standing tradition to fit an actor in a role like the last one they played.  I don't like that and I rebel against that notion.

Many actors that I have talked with about playing a part in THE HOUSE have mentioned, "have you seen my actor reel".  My answer, "yes, but I still want to have you audition anyways.".  Why?  Wouldn't that be a waste of time?  I was taught that you should have actors audition for many parts.  This film system dictates not to take risks and allow people the ability as performers to break out of a type-cast and be something original.  Think about it:  how many A-list actors have you seen play basically the same type of roles over and over again?  Some of my favorite actors, like Mel Gibson, play similiar roles.  I can basically sum up most of his role as emotionally driven character.  Either they're slightly psychotic or suicidal like Lethal Weapon, Mad Max (where's his angry about the death of his wife) or have some thing they're dealing with at a deep emotional core like in The Patriot, Signs, Braveheart.  His situation is not unique when it comes to the issue of type-casting. 

Sometimes I think it goes beyond what the person has done previously, I also think that Hollywood cheats when it comes to casting someone because they base a lot on the person's personality.  Or another one is a person's public image.  Many actors struggle to break out of the mold of a type cast for years.  Tom Hanks is a great example of this.  He was almost known as a funny guy.  Then he did Forest Gump and showed he could be both funny and serious. 

The use of type casting many times goes down to agent.  Many agents find it much easier to just put their talent in a nice, well marketed, package.  (I would dare to say 'box')  It makes it easy for marketing purposes.  This person is "action hero" type actor, this is a "blonde bombshell", this is the "sidekick", etc.  MGM did this a lot too.  Mayer did a great job of creating an essembly line.  Once he placed you (a cog like in a clock  in the description used by a character in The Incredibles) in your spot don't expect anything to change. 

Film is art.  Like a painting a filmmaker should be able to figure out what brush or color or whatever they want to make their masterpiece.  The filmmaker should be able to evaulate an actor as a whole performer.  I should be able to have you audition for many roles.  Could it be possible that you have more to bring as a performer than the type of roles you've played in the past.

My two favorite actors are Bob Hoskins and Terry O'Quinn.  Why?  Because they play a diverse amount of roles.  Most people didn't know who Terry O'Quinn was until LOST (he plays John Locke).  Bob Hoskins plays characters so well that I almost don't notice him until I read the credits. -He's that good.   I'd love to work with either one of these actors.

My point: if you see an actor you like in THE HOUSE that is totally different than you have seen them before, you should applaud!  I have given them the respect of showing how great a performer they really are.

CGI isn't Easy!

For those who have seen the airplane landing on Moosehead Lake/Opening Credit Sequence for THE HOUSE this is the show reel of James R. Bosley who designed the vfx for the scene.  In the beginning you get a glimpse into some of the making of the segment.