Cliché Sieve

Making a film, while undoubtedly fueled by inspiration and instincts, also involves many tangible assets. It’s like being a craftsman and most of the process resembles the work of a carpenter. We use diverse tools: pens, computers, cameras, costumes. Anything you can imagine becomes a potential instrument for filmmaking. However, when it comes to handling the intangible aspects, it’s a field in shades of gray. While there are certain established concepts at our disposal, they aren’t always suitable for our projects. So we often find ourselves in the position of tool-makers and create our own solutions. Now, I’d like to introduce you to an abstract tool that I carry with me throughout every stage of making a film: the Cliché Sieve.

Think of it as an imaginary sieve. Every time I gather scattered ideas and create a new concept, build a scene during shootings, or experiment in the editing process, I run them through this filter. I ask myself: Does this resemble something that’s been done before? Has this become a tired and overused concept? How can I infuse it with freshness? Conversely, what should I remove from it? Have I managed to transform it? With these inquiries, I sift through my ideas or creative attempts.

Sometimes, I turn to my collaborators and suggest, Let’s run this through the Cliché Sieve. We keep what survives beneath the sieve, but we don’t discard the rest. We store it for the next round of filtering, as an idea rejected for one project might find purpose in another. In the end, every creative effort is a blend and the only variable is the size of the sieve’s mesh.

Filtered vs. Unfiltered

Now, this approach might seem analytical, but, I believe, making art involves a significant portion of analysis. In fact, beneath the surface of every creative attempt, a certain mathematical elegance lies. People who proudly proclaim themselves as artists often only emphasize the more attractive and romantic aspects like inspiration and instincts. However, these are just small pieces of the larger picture. To me, art needs feelings distilled, not left unfiltered. Sure, there are moments when you are hit with intense feelings and inspirations, but once you have absorbed and analyzed these experiences, only then your creative mind can truly get in the game.

So, artists who keep their lips sealed about those analytical aspects don’t seem honest to me. Whenever I hear filmmakers say, “I just followed my instincts”, I can’t help but think they are lying. Perhaps they fear losing their sexiness. That is why sometimes I find myself respecting mainstream filmmakers more than arthouse ones because they have a clear understanding of their purpose. They know why they do what they do, and their audience knows what they get and why. On the contrary, some self-proclaimed art filmmakers often appear indecisive. They often focus on abstract concepts or socio-political issues. They use labels to garner attention, almost like prophets seeking divine revelations. However, they end up being generic and empty.

Of course, in making art, there’s an element of mystery and exploration. But once we have completed a piece, we can figure out our path with self-examination. We can reflect both our creation and the intention behind it. So, I believe, what we truly need is to be conscious and honest about what we do, which is also a way to put ourselves through the Cliché Sieve and discover what remains.