by Michael Chasin Screenwriting Mentor, IAFT/Miami The acclaimed series Breaking Bad serves as a great case study on the value and masterful use of backstory—events that occurred before the present story. Breaking Bad begins with high school chemistry teacher Walt White being diagnosed with terminal cancer. He decides to use his chemistry skills…
by Michael Chasin Screenwriting Mentor, IAFT/Miami Before the tent-pole budgets, trailers, and cutting-edge technology, A-Lister filmmakers were Z-Listers. Being on the Z-List has nothing to do with notoriety, but has everything to do with making a film on a zero budget. Demonstrating the artistic talent and management skills to make an entertaining film…
by Michael Chasin Screenwriting Mentor, IAFT/Miami Auto racing isn’t about where you go—the start and finish lines are in the same place—it’s about how you go—all out, pushing limits—or strategic and precise. The film Rush explores that central conflict. While it would have been easy to focus on the track, writer Peter Morgan has…
review by Pete Wassell IAFT/LA Joe Schwanberg is considered one of the pioneers of the Mumblecore movement, and I was lucky enough to interview him for a previous blog entry on the IAFT website: http://www.iaft.net/uncategorized/joe-swanberg-retrospective-in-san-francisco/ And though Drinking Buddies has many of the same qualities a Mumblecore film might, Schwanberg has added in…
by Michael Chasin Screenwriting Mentor, IAFT/Miami The primary responsibility of a filmmaker is to return investors’ funds. Making an entertaining film that audiences will pay to see will address that responsibility. Beyond economics and entertainment, there is another responsibility. Film’s incredible power to inform and influence demands social responsibility—telling stories that will make viewers…
by Michael Chasin Screenwriting Mentor, IAFT/Miami A student recently asked, “At what runtime is a movie officially a feature film?” A great direct question—that prompted this long answer. Traditionally, 120 minutes (2 hours) was the standard runtime for a feature. Is that still true today? The Screen Actors Guild/AFTRA views any work over 80…
A Producer’s Baptism by Fire by IAFT’s Pete Wassell When I first went to film school, I wanted to do what everyone wants to do—write and direct. I was going to be the next Tarantino or Spielberg. I was going to make big movies about small stories. Then, as I navigated the maze of…
by Michael Chasin Screenwriting Mentor, IAFT/Miami Music videos first emerged in the late 1970’s as a promotional tool for songs and artists. Since then, they have taken many forms including: - Capturing live performances - Recording lip-synch performances - Behind-the-scenes looks - Dramatic interpretations of songs with actors and story arcs - Special effects…
by Michael Chasin, Screenwriting Mentor, IAFT – Miami As a filmmaker, there are more opportunities than ever to have your work viewed. Technology has made content available to anyone, in any place, at any time. While it may be gratifying that your film had thousands of web hits, do you really know if the…
by James Sieczka I’ve been on countless shoots where sound is the absolute last priority. Hiring the sound mixer is an afterthought. But he should be there from day one, so he can properly prepare for, or advise against, the dramatic dialogue-heavy scene right next to the blue-line stop in downtown Chicago. Sound is…
