DISPOSABLE ART

underlying every work of art is the original intent that stimulated the production of the work. in ABOUT ALEX the intent of the filmmaker was to make an appealing film for young adults. this intention permeates every decision made along the way to completion, from the storyline, the number of characters, their personalities, the dialogue, the arc, and on to the conclusion; the work is inseparable from its generating concept. in THE TRAIN the underlying intent of the writer was to express to an audience the impact and meaning, in both emotional and intellectual terms, of the death of a parent. the desire to share a powerful, affecting experience with others permeated every decision made along the way to completion. no consideration was given to the effect decisions about the work would have on its audience, or whom that audience might be. the primary, indeed the only concern, was to communicate as effectively as possible a profound experience. it was left to future audiences to decide if the work is appealing. for the writer, it was enough to know it had succeeded on its own terms and satisfied its creator.

the likelihood of something genuinely original being created by the process of the first intention is more problematic and seldom leads to anything more than disposable art.