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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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  • Revisiting CASABLANCA
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    by Robert Taylor/IAFT-L.A.   Here’s the old quote Howard Hawks used to describe a good movie: “Three great scenes. No bad ones.” Casablanca (1942) is a movie with an endless amount of great scenes and not a bad one anywhere. A simple story, extremely well told, and every minute or two you smile with recognition […]

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  • THE TICKING CLOCK
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    by Michael Chasin   There is something very important that must be done. The consequences of not completing it will be horrific—but there isn’t enough time. So you feel pressure, urgency, fear—as time starts to run out. That element of rapidly diminishing time is a standard dramatic device known as—the ticking clock. The ticking clock […]

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  • MR. WILLIAMS SMILE
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    by Michael Chasin   Robin Williams’ tragic passing was a jolt—that his mirth-filled, public persona—was very different from his private, personal life. This concept of idealized life versus reality was explored in one of Mr. Williams’ best, but lesser known performances, in One Hour Photo, a small film. In One Hour Photo, Mr. Williams portrayed […]

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  • ENDINGS
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    by Michael Chasin   Life, unfortunately, doesn’t always turn out as it should. Sometimes people meant to be together—are not. Sometimes bad things—happen to good people. Sometimes justice—does not prevail. So we seek diversion.  We seek entertainment. We seek stories that feel like real life, with all its obstacles, set-backs, and tragedies, but unlike real […]

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  • CONSUMING CONTENT
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    by Michael Chasin   Today, the opportunities for your story to be seen are vast, including: Ÿ Theatrical Movies Ÿ Broadcast TV Channels Ÿ Basic Cable TV Channels Ÿ Premium Cable TV Channels Ÿ Internet Sites / Channels As different as these platforms are, it is vital that the storytellers understand how their content will […]

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  • CIVILIAN SERVICE
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    by Michael Chasin   You had a spectacular vision. Now, after months—or years—of writing and rewriting, pained pre-production, production, and neck-craned to-the-monitors post-production—your film is edited. But is that vision clear in your film—to those who don’t know the story? Is your film smooth—or choppy—or too fast—or too slow? As a micro budget filmmaker, you […]

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  • TELLING STORIES
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    by Michael Chasin   Going home. It’s a moving sentiment—which everyone can relate to. Add in the underdog elements of crying and bleeding and the selfless goal of achieving something magical for your people and you have—an emotional story. LeBron James recently told that story—as a way to announce his changing teams and cities. By […]

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  • THE ART OF SOUND
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    by Michael Chasin   We know that filmmaking is the art of what, when, and how things—are seen. Less realized, filmmaking is also the art of what, when, and how things—are heard. And what is heard is the province of sound design. After the pristine sound stage—sound design is vital—to create plausibility. What would a […]

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