David Fincher has been my favorite director since Brock Scott showed me Se7en on VHS. Brock had been hyping the movie for weeks, talking about how morbid and bloody it was, and like most 14-year-old boys, I was looking forward to it.

What I got was my first glimpse at cinematography as a storytelling tool. How scenes were revealed, shots were composed, and what was in focus and what wasn’t. It all resonated with me. I mean… it’s always been in film, but that was the first time I noticed it. Like when you hear an album and you finally perceive it as a means of expression, rather than a catchy tune and some memorable lyrics.

When DVDs came out, I was all over Se7en and Fight Club because I absolutely HAD to have those commentaries. I wanted to know everything I possibly could about how these films were made and, more importantly, where these visuals came from. Through David Fincher commentaries, my dad’s photography books, and lots and lots of short films made on large, bulky, VHS camcorders, I found my first real passion.

So, why am I getting in to this? I saw The Girl with the Dragon Tattoo, which sparked a re-watch of The Social Network and I got the bug again. I want to tell a story. I want it to be appropriately visual and constantly interesting. If you’ve hung out with me in the last few weeks, I’ve probably pitched you an idea for a short or two and you got really excited about it.

So I ask this of you, the people who love me. Don’t let me let this go. Bug me, annoy me, blow up my phone and push me to get these things done, while I still can.

It’ll be fun.

Source: whatisemotion