Francis Ford Coppola On Art, Copying And File Sharing: We Want You To Take From Us
from the first-step dept
I once found a little excerpt from Balzac. He speaks about a young writer who stole some of his prose. The thing that almost made me weep, he said, "I was so happy when this young person took from me." Because that's what we want. We want you to take from us. We want you, at first, to steal from us, because you can't steal. You will take what we give you and you will put it in your own voice and that's how you will find your voice.While (of course), I always dislike the incorrect use of the term "stealing," I found this to be quite an insightful answer from someone who is certainly in a position to pretend otherwise. However, throughout history we've heard similar (if much less eloquent) claims from others. Ray Charles famously made similar points about copying his music (shamelessly) from others to create his own unique sound (and invent soul music in the process).
And that's how you begin. And then one day someone will steal from you. And Balzac said that in his book: It makes me so happy because it makes me immortal because I know that 200 years from now there will be people doing things that somehow I am part of. So the answer to your question is: Don't worry about whether it's appropriate to borrow or to take or do something like someone you admire because that's only the first step and you have to take the first step.
Immediately after this, he's asked about business models, and he notes:
This idea of Metallica or some rock n' roll singer being rich, that's not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I'm going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?While some will misinterpret this to mean that artists shouldn't make money, that's not what he's saying at all. He's saying it shouldn't be presumed that they automatically must make money -- or that if they are to make money, that it needs to come from the film directly.
In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you'd be paid as a musician. There was no recording. There were no record royalties. So I would say, "Try to disconnect the idea of cinema with the idea of making a living and money." Because there are ways around it.