I think about leaving the film industry every day, says Shawn Christensen
Director Shawn Christensen who has helmed projects such as The Vanishing Of Sidney Hall (2018) and the Academy Award-winning short film Curfew (2012) talks about his long-time friend, The Vampire Diaries star Paul Wesley, the growing diversity in the American film industry and how he has aspirations “bigger” than just the film industry.
Your friendship with Paul Wesley is celebrated. How did it all start?
Well, Paul is the one who duped me into getting into Hollywood in the first place. He essentially read a screenplay I had written and without asking me, sent it over to his manager. Then suddenly, she wanted to take it on and produce it. The next thing I knew, my co-writer and I were assigned to William (WME; William Morris Talent agency); it started from there. So, he is responsible for all of the hills and valleys I go through — I blame him. Further to that point though, I have had spectacular screenplays that I was having trouble with or that needed a friend’s notes. Paul always gave the best notes, specifically on one script called the Comical. He gave me notes that were hugely helpful and a week later I churned out a draft with his notes and I sold it. I think it was his notes that brought it over the top for me. We’ve been friends since acting class when we were kids and so we’ve had the same sense of humour and the same circle of friends. It’s been that way for many years.
How has your experience in the film industry been so far?
Well, I think about leaving it every day, if you want me to be honest. But I like the making, the stories, the movies, cinema, so I stick around and try to make my little projects. I like to reinvent myself or go against what people think I am going to do, and that’s not very easy to do in any industry. So I’ll stick around but I have other, bigger aspirations but for the moment, the film industry is fine.
The industry has been taking conscious efforts to increase diversity at various arenas including the Oscars and Grammys. How does this affect the talent pool and recruitment?
Well, I definitely see a major shift in America, where they have a fantastic clause that benefits you if you have a more diverse cast. You get rebates and save money. I don’t know who instilled the rule but that’s a beautiful one right there. It honestly forces people to make a movie look a little more realistic. In the past few years, young film-makers, who are more diverse are entering the game. So, it’s going to take them a minute, to rise up and have their voice be known. And in America, it’s been a problem.
I am part of the Academy and they have invited a very diverse crowd to the body. So they are definitely rising up to the occasion. But they are also kind of at the mercy of what’s going on with the studios, what they are making and who they are hiring. So it’s like a catch-22 situation. But I think things are looking up. I have to add that I have a son and so I watch a lot of these cartoons that I have never seen. I find them to be extraordinarily diverse and that is probably one place that’s really changing.
Any other issues of the industry that need to be addressed?
There is plenty they can do but quite frankly, what they should really worry about is quality over quantity of movies and television. We live in an age where it is easier to make films. You can shoot one on your phone if you wanted, it doesn’t necessarily mean that the stories are that great or that the issues are really shined upon in any particular way. I am more towards ‘let’s get the good stories out there’ wherever they come from.
As artistes are also influencers, should they voice their political opinions?
There are different reasons why people make movies and television shows; some of course are pure primal, cult entertainment. Some people can do that and simultaneo usly shine light on social issues. It is really up to the filmmaker. If they have a compelling idea and story, it really doesn’t matter.