Stupid Enough - A Film About Creativity

Stupid Enough is a realisation that everyone’s route to a creative business is different.

We’ve all seen those terrifying online lists of the '10 things you need to do' to ensure you get where you want to be, creatively and professionally.

These things are well-intentioned and can be helpful, but can also become a sack of 10 (or more, sometimes) sticks to beat yourself with. What if you hate social networking? What if you live on a remote island? What if you shy away from those ‘crucial’ social gatherings? What if you’re hopeless at paperwork? And cold-calling terrifies you? What if you simply don’t want to follow someone else’s ‘list of ten things’?

They can give the misleading impression that these are the magical steps - and the only ones. Follow them, and success can’t fail to come - ‘one size fits all’.

Stupid Enough is a film in which eight successful and creative people (and they will share their own definition of those words) share their experiences on how they reached their present stage, whatever that might be.

They’re all very, very different. They’ve all tried and failed, struggled, succeeded, cocked up, learned, and kept going. None of them started out with a list of rules or a guidebook. They were stupid enough to have a go, and find their way by applying their natural creativity to every aspect of their business.

And they’re still doing it.

Creative businesses can be organic, unique, messy. They can be silly and unpredictable, and very...human. Watch how these humans are giving it their best shot.


Gareth Edwards // film director. 'Monsters, Godzilla, Star Wars - Rogue One'

Sage Francis // musician

Jonathan Levine // gallery owner

Rebecca Lewis // talent agent

Tom Hare // willow artist

DJ Food // DJ, designer and musician

Louisa St Pierre // agency director and illustrator

Jed Smith // chef

Sarah J. Coleman & Leigh Adams - The Creative team behind this film are coming into Weston College for & Q&A, Workshop and Screening.

Tuesday 19th January 2016. 1.30pm in M015 Performance Space, University Centre Campus, Weston College.

Power of ‘Cinema’ to transform ‘the everyday’

Power of ‘Cinema’ to transform ‘the everyday’

In film, a great director (& crew) can turn a usually normal scene and transform it into something completely different, something ‘cinematic’.

PROJECT: Style Brief

Think of an everyday activity i.e. Walking the dog, Meeting the parents of your partner, Eating chocolate, catching the bus...

Think how you could use the language and dynamics of ‘cinema’ to transform this scene. This could be to evoke drama/ adventure, enhance tension, be sensual, question ‘norms’, make a social/ political statement....

The project is a vehicle to experiment with and develop your Film Production Skills. The film will form part of your portfolio for Film Production Skills Module. FMAP4501 Assessment One.  Showcasing your Pre Production, Camera, Lighting, Sound Design and Editing Skills.

Consider: Mise en scene, Cinematography, Sound Design, Acting style. Mood, Genre, Style.

In this scene from Lynne Ramsey’s Ratcatcher. James a young boy from an impoverished family in 1970’s Glasgow, attempts to escape the streets around his tenement home that are piled with rubbish because of a dustmen's strike.

The end of this scene (from 4.30) is particularly poetic.

Great article about British Cinema

Review of Ratcatcher

Big Shave (1967, USA, Dir. Martin Scorsese)

The Big Shave (1967) is well known for being the short that launched Martin Scorsese's career. Four decades later, it still stands as a powerful allegory of the Vietnam War and a study of aural and visual interaction, the gruesome bloody close-ups contrasting with the ironic use of upbeat rock music.’ BFI

‘Many film critics have interpreted the young man's process of self-mutilation as a metaphor for the self-destructive involvement of the United States in the Vietnam War, prompted by the film's alternative title, Viet 67.’ Wiki

More early Scorsese shorts

Big Shave - IMDB

Sound design plays a key part in David Lynch’s surreal often unnerving debut film, Eraserhead. See DVD from around 13m50s / Ch.3 'Meet the Family'.

Atmospheric Slow Shutter speed camera work is used in the stunning opening scenes of Wong Kar-wai's Chungking Express (1994)

Offside (2005, Iran)

With Offside, Iranian Director Jafar Panahi, tackle’s gender politics through an absurd often funny portrayal about girls trying to sneak into a football match. Shot on location in Cinema Verite / Documentary/ Realist Style.

Director Jafar Panahi talks about the inspiration for the film:

Jafar Panahi - arrest and international outcry

On 20 December 2010, Panahi, after being convicted for "assembly and colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic," the Islamic Revolutionary Court sentenced Panahi to six years imprisonment and a 20-year ban on making or directing any movies.

In the middle of the controversy and court appeal, Panahi broke the ban imposed on him from making films and made the documentary feature This Is Not a Film (2011) in collaboration with Iranian filmmaker Mojtaba Mirtahmasb. IThe film was smuggled out of Iran on a USB thumb drive that had been hidden inside a cake, and was a surprise entry at 2011 Cannes Film Festival,

In December 2012 it was shortlisted as one of 15 films eligible for Best Documentary Feature at the 85th Academy Awards. (more)


We Are Many

We Are Many tells for the first time the remarkable story of the biggest protest in history, and how it changed the world: Eight years in the making, filmed in seven countries, and including interviews with John Le Carre, Damon Albarn, Brian Eno, Danny Glover, Mark Rylance, Richard Branson, Hans Blix and Ken Loach amongst others, it charts the birth and rise of the people power movements that are now sweeping the world, all through the prism of one extraordinary day.