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  • Reprising SINGIN’ IN THE RAIN
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    by Robert Taylor / IAFT-L.A.   Watching this movie makes me wish it would rain more in Los Angeles. The best musicals are the ones strong enough to exist without their musical numbers—even though you can’t imagine the movie without them. Singin’ In the Rain (1952) would function perfectly as a comedy even if all […]

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  • GETTING NOTES & What To Do With Them, Part Five
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    by Frederick Bailey    IAFT/LA   A final thought about script notes… Some people who give notes are very conscientious. There was a guy I worked for at a company called Spectacor, now defunct.  His name was Abraham Gordon. He would read every draft of my script at least three or four times before he […]

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  • NEW WORLD YOUTH
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    by Michael Chasin   Hollywood is about genres. Why?  Because they work. Action, drama, romance, and comedy are all tried and true profitable genres. So it’s rare when a new genre emerges. Dystopian films—where in the future there is a perfect social order, at the expense of a lower class—have been made before—and have generally […]

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  • GETTING NOTES & What To Do With Them, Part Four
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    by Frederick Bailey    IAFT/L.A.   Once when I was working for Roger Corman at New Horizons, he gave me a sheaf of notes from a free-lance story analyst.  He wrote something for me in the upper right hand corner of the top page. “Fred, this lady doesn’t understand the genre, so you don’t have […]

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  • INTO THE SUNSET
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    by Michael Chasin   The western was the genre of that new form of entertainment—the movies. White cowboy hats and black cowboy hats made it easy for audiences to distinguish between heroes and villains in silent films. The advent of sound reduced the number of westerns, but it remained a staple into the late sixties. […]

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  • GETTING NOTES & What To Do With Them, Part Three
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    by Frederick Bailey    IAFT/L.A.   Frequently when someone approaches you with the suggestion of free rewrites on a script that you own, you’ll talk and find out that person has a diametrically opposed vision of your script. A couple of years ago, a good friend in the business and her new partner asked me […]

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  • ARTISTRY WITH THE TOOLS
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    by Michael Chasin   Skilled artists will use many tools to create their visual story, such as:  The typewriter—to construct the screenplay The 16mm camera—to film the action The moviola—to edit the film These basic tools have proven to be highly effective in creating great movies. Doubt that? Just look at any of the hundreds […]

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  • GETTING NOTES & What To Do With Them, Part Two
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    by Frederick Bailey    IAFT/L.A.   I personally don’t mind changing a script if it makes it better.  Or at least if it’s as good as it was before.  Where I draw the line is:  Don’t make it worse. That’s pretty simple. A lot of people don’t see the script the same way you do.  […]

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  • GETTING NOTES & What To Do With Them, Part One
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    by Frederick Bailey   When you work as a screenwriter with a company in the business of making and selling motion pictures, it’s likely you’ll be working on an assignment basis—on a free-lance, independent-contractor, script-by-script basis. Very few companies these days put a writer on the payroll, under contract. The upshot of this is that […]

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  • FIlm School Open House at IAFT Cebu
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    October 24, 2014 – October 24, 2014 One Hollywood Blvd.,Bigfoot I.T. and Media Park Map and Directions | Register Description: You are cordially invited to a behind the scenes visit of Asia’s premier film school on 24th October  2014 at 2pm to 6pm. Come experience the fundamentals of producing, directing, acting, writing and cinematography in […]

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