There’s a moment in Starz’s The Chair—which debuts on Saturday at 11/10c—where one of the two directors making a version of the same script in a competition for a $250,000 prize is scouting locations at a middle school, and he’s approached by a group of young students who ask to take a picture with him. Taken out of context, it would seem strange for teenage girls to treat a director like a celebrity, but Shane Dawson is not a traditional director. His filmography largely exists on the web, on YouTube channels with upwards of 6.1 million followers, and his involvement in The Chair is about testing how YouTube creators are able to transition into a more traditional filmmaking environment.
Accordingly, there’s more at stake for Dawson in the project than the $250,000 prize—Not Cool, his version of Dan Schoffer’s original script, is a major transition outside of YouTube, and one of the central narratives of the series is Dawson’s efforts to maintain appeal to his young fanbase while nonetheless meeting the expectations of the producers and financiers of the project. Recently featured in a Variety cover story confronting a new era of online content creation, Dawson is also among a group of YouTube creators who are expanding outside their channels in an effort to stretch themselves both creatively and financially, a test of how audiences built in the space of web video can be translated across platforms.
After speaking with Chris Moore, and before speaking to his fellow filmmaker Anna Martemucci, I spoke with Dawson about his decision to be involved with The Chair, his identity as a “YouTube star” in the context of this and other projects, and how the experience has shaped his future plans both on and off YouTube.
Cultural Learnings: In the series, you’re really held up as a representative of the new vanguard of online creators, which are further reinforced by the Variety cover story. Are you comfortable being held up in this way?
Shane Dawson: I think I’ve been around for so long—I mean, it’s only been seven years or something, but YouTube years are like dog years. [Laughs] I think it’s cool that people kind of look at me as one of the originators of online video and one of the pioneers of YouTube because I’ve worked really hard to build an audience and make content that I’m proud of. A lot of the things I was doing on YouTube nobody was doing at the time, and now everybody is doing them, and I think making movies—I know a few Youtubers have done it, and hopefully this movie does well and more YouTubers want to take a risk and make movies, and I’m excited about it.
As your comments suggest, the YouTube form has its limitations, and you naturally want to push beyond it to expand into other creative outlets. What made this the right form of expansion for you personally?
I’ve wanted to make movies ever since I was a kid. I knew that was my goal. I had wanted to make a movie for the last five years, really trying to get funding, and nothing was working out. And then Chris Moore came to me wanting to do something, and then this came up and he said “Hey, maybe this would be great.” And so the thought of having final cut, and it wasn’t my money that I had to put up, I mean—I think I signed up without even writing the script, I was like “Done! Put me in!” [Laughs]