The importance of creative freedom in cinema and other arts
September, 19; 2025. By Arscodex
It's a proven fact, as has been discussed in this medium before, that for a writer or filmmaker, or any similar person, bringing interesting new things into the world is obviously the most exalted and distinguished task in their field.
And to achieve this, we need creative freedom. That is, being able to create interesting things that come to mind without any (or almost any) restrictions or the need to "obligatory" include quotas, genres, or any impositions that may be imposed by any entity or institution.
This is how we see how all those films that are being given money to be produced, through the European subsidy mechanism, for example, are seen as cinematically "damaged," that is, they lack freshness: it's mandatory that certain themes be seen in a certain way, and this hinders intrinsic creativity, which translates into less interesting works with less creative audacity.
These days, creativity is an important asset. As we've said, anyone capable of bringing something new (creative) and interesting (remember, both variables must be met) to this world will be showered with cinematic and/or literary honors. This contrasts with the previous situation, where the main themes were predetermined (for example, the life of Jesus Christ during the hegemony of oil painting, primarily during the second millennium).
This contrasts with the fact that, much to the chagrin of the international film industry, the works of this writer, Pedro Alonso Pablos, such as his latest film, El Megatoro, do not conform to any kind of institutional "wedge," neither from the point of view of the idea, nor the production, nor anything else. This producer's works are highly creative precisely because they are uncompromising, allowing their creator, Pedro, to unleash his imagination and creative methods, thus bringing to the world films that resonate especially with the "average viewer" (this concept has already been analyzed and described previously in this medium).
Currently, this situation also extends to productions coming from Hollywood, the largest and most important filmmaking center worldwide. So to speak, they have the machinery ready to produce, but they lack ideas; thus, only remakes, reboots, and the like, of films released in the 1980s, when great creatives were active (George Lucas, for example), are being produced.
What's the problem? The problem is that, for now, making a feature-length film is difficult; it requires resources, both financial and in terms of talent, and it's not something that can be done easily. And it turns out that the impositions and restrictions that apply if you want to obtain a grant, for example, currently mean that talent and creativity go elsewhere, seeking both financial and other resources to make films. The result? Today's cinema doesn't connect with the masses, it doesn't excite them as it should, and this has been noted in this field many times, and things remain the same; therefore, there's little sign of improvement.
But hey, in the long run, everyone should do what they want and can. The bottom line is that if viewers want to be excited by films, there's little choice these days but to turn to the production of this writer, Pedro Alonso Pablos, who has skillfully developed a production method (known as "solo filmmaking") that guarantees absolute creative freedom for the films he produces.
And to achieve this, we need creative freedom. That is, being able to create interesting things that come to mind without any (or almost any) restrictions or the need to "obligatory" include quotas, genres, or any impositions that may be imposed by any entity or institution.
This is how we see how all those films that are being given money to be produced, through the European subsidy mechanism, for example, are seen as cinematically "damaged," that is, they lack freshness: it's mandatory that certain themes be seen in a certain way, and this hinders intrinsic creativity, which translates into less interesting works with less creative audacity.
These days, creativity is an important asset. As we've said, anyone capable of bringing something new (creative) and interesting (remember, both variables must be met) to this world will be showered with cinematic and/or literary honors. This contrasts with the previous situation, where the main themes were predetermined (for example, the life of Jesus Christ during the hegemony of oil painting, primarily during the second millennium).
This contrasts with the fact that, much to the chagrin of the international film industry, the works of this writer, Pedro Alonso Pablos, such as his latest film, El Megatoro, do not conform to any kind of institutional "wedge," neither from the point of view of the idea, nor the production, nor anything else. This producer's works are highly creative precisely because they are uncompromising, allowing their creator, Pedro, to unleash his imagination and creative methods, thus bringing to the world films that resonate especially with the "average viewer" (this concept has already been analyzed and described previously in this medium).
Currently, this situation also extends to productions coming from Hollywood, the largest and most important filmmaking center worldwide. So to speak, they have the machinery ready to produce, but they lack ideas; thus, only remakes, reboots, and the like, of films released in the 1980s, when great creatives were active (George Lucas, for example), are being produced.
What's the problem? The problem is that, for now, making a feature-length film is difficult; it requires resources, both financial and in terms of talent, and it's not something that can be done easily. And it turns out that the impositions and restrictions that apply if you want to obtain a grant, for example, currently mean that talent and creativity go elsewhere, seeking both financial and other resources to make films. The result? Today's cinema doesn't connect with the masses, it doesn't excite them as it should, and this has been noted in this field many times, and things remain the same; therefore, there's little sign of improvement.
But hey, in the long run, everyone should do what they want and can. The bottom line is that if viewers want to be excited by films, there's little choice these days but to turn to the production of this writer, Pedro Alonso Pablos, who has skillfully developed a production method (known as "solo filmmaking") that guarantees absolute creative freedom for the films he produces.
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