Never, ever, have I seen or read anything more true and important about creativity and the work required. This man has been a hero of mine for many years, but now he’s in the Pantheon.
![austinkleon:
My notes from Terry Gilliam’s 10 lessons
3. Auteurism is out. Fil-teurism is in.
Being an auteur is what we all dreamed of being, as far [back] as the films of the late ‘50s and ‘60s, when the idea of the auteur filmmaker arrived on the planet. And people kept using that term, and they do with my movies because I suppose they are very individual and they give me all the credit, so they say I’m an auteur. And I say no, the reality is I’m a ‘fil-teur.’ I know what I’m trying to make but I have a lot of people who are around me who are my friends and don’t take orders and don’t listen to me, but who have individual ideas. And when they come up with a good idea, if it’s one that fits what I’m trying to do, I use it. So the end film is a collaboration of a lot of people, and I’m the filter who decides what goes in and what stays out.
4. Put your ideas in a drawer. Take them out as needed.
I do have a drawer in my desk with all the ideas that I have and that I scribbled out. I put them in there and some day I use them. At the beginning of a new film, I often go in that drawer and look at everything I’ve done and see if there are some ideas that might apply to what I’m doing. But things grow, so I just start with a sketch and then refine it. And you do it with other people’s ideas coming in. That’s the fun part.
Zadie Smith has said the same thing about drawers.](http://25.media.tumblr.com/tumblr_lz6t2gW2Ug1qz6f4bo1_500.jpg)
My notes from Terry Gilliam’s 10 lessons
3. Auteurism is out. Fil-teurism is in.
Being an auteur is what we all dreamed of being, as far [back] as the films of the late ‘50s and ‘60s, when the idea of the auteur filmmaker arrived on the planet. And people kept using that term, and they do with my movies because I suppose they are very individual and they give me all the credit, so they say I’m an auteur. And I say no, the reality is I’m a ‘fil-teur.’ I know what I’m trying to make but I have a lot of people who are around me who are my friends and don’t take orders and don’t listen to me, but who have individual ideas. And when they come up with a good idea, if it’s one that fits what I’m trying to do, I use it. So the end film is a collaboration of a lot of people, and I’m the filter who decides what goes in and what stays out.
4. Put your ideas in a drawer. Take them out as needed.
I do have a drawer in my desk with all the ideas that I have and that I scribbled out. I put them in there and some day I use them. At the beginning of a new film, I often go in that drawer and look at everything I’ve done and see if there are some ideas that might apply to what I’m doing. But things grow, so I just start with a sketch and then refine it. And you do it with other people’s ideas coming in. That’s the fun part.
Zadie Smith has said the same thing about drawers.
My friends:
This past summer, I had the great privilege of shooting a pilot for the History Channel’s new network H2, and I am excited to tell you it’s actually airing this weekend. It’s called How Many People Does It Take, and in it we meet all the people along the assembly lines of some of our favorite things (Maker’s Mark bourbon and Bicycle playing cards, for example). I’m really, honestly proud of it, and I think it’s the perfect way to end your Thanksgiving weekend: wear something with an elastic waistband, nuke a plate of leftovers, and let me entertain you.
Here’s the thing: this show is what we call a “backdoor pilot,” which means that if the ratings are good enough, they’ll make some more. So if you would be so kind, please spread the word. Reblog, set your DVRs, tell your parents. HMPDIT (which we called Humped It for short) was an absolute ball to make, and I would love to get the band back together and do this for a nice long time.
Many, many thanks. Happy Thanksgiving! Hump it.
