Bubble Boy

I was reading the Wild Hunt post today and the following quote really resonated with me: 

“The Pagan and polytheist corners of the internet foster conversations that require so much context as to be nearly unintelligible to outsiders.”

And it got me to thinking about my filmmaking choices over the last several years, and how this was a consistent criticism that I received in the past, and yet praised for it in recent times. On older films, key among them Voodoo Cowboys, I struggled to create a film that engaged the subject matter I wanted to deal with (vodoun and zombie apocalypse) in a very detailed and (other than the zombies) realistic way. If it wasn’t for my cinematographer Leo Smith constantly asking what I thought were silly questions (they weren’t) I would have forged ahead with a 60-70 page script that required the viewer to do all of the heavy lifting with regards to prior knowledge of voodoo religion & hoodoo sorcery. Thanks to Leo the script ended up being about 120 pages once I’d explained at least the basic concepts, and yet when the film was finished there were still so many vodoun pre-requisites of understanding for the audience that many people only barely scratched the surface of the story, and as a result viewers rejected the film as just another bad movie. 

Today I am enjoying a very different, in fact opposite, reaction from general viewers. The film Ember Days is a complex soup of myths ranging from Fallen Angels & Nephilim, to Greek Gods, to the Faerie Courts, all of them interwoven and in conflict. This was a 45 page script, with very little in the way of exposition about who these mythic entities were, and only marginal exposition about what their motivations were, and yet the general audience for the film not only understands the story but loves it. 

The difference between the two films is that I tried to present Voodoo Cowboys to a broad ‘over-culture’ audience, and with Ember Days we specifically presented it as “by pagans for pagans”.  Reading the above blog post really hammered home the realization that my problem with Voodoo Cowboys was presenting the film outside of the pagan bubble, and the success of Ember Days has been due in a large part to presenting it within the bubble. 

What this seems to imply for me as a filmmaker is that when I have a story to tell, it is part of my job to determine whether or not it belongs inside or outside the bubble. And I agree with the author of the Wild Hunt post, in that I’m not sure what the bubble means for us pagan folk going forward, though for now I am rather happy to have identity and success within it. 

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