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Source: https://nofilmschool.com/feeds/feed.rss

1. <?xml version="1.0" encoding="utf-8"?>
2. <rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:media="http://search.yahoo.com/mrss/"><channel><title>No Film School</title><link>https://nofilmschool.com/</link><description>No Film School</description><atom:link href="https://nofilmschool.com/feeds/feed.rss" rel="self"></atom:link><language>en-us</language><lastBuildDate>Sat, 04 May 2024 03:50:58 -0000</lastBuildDate><image><url>https://nofilmschool.com/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8zNDM0MjQxMy9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTc1Nzc2NzgwNH0.qhX7ZWubDjZEnjMXAc6bhocup5SCA9QnI3VdhfPoXe4/image.png?width=210</url><link>https://nofilmschool.com/</link><title>No Film School</title></image><item><title>How 'Hundreds of Beavers' Pulled Off Slick Visual Style With After Effects</title><link>https://nofilmschool.com/hundreds-of-beavers</link><description><![CDATA[
3. <img src="https://nofilmschool.com/media-library/how-hundreds-of-beavers-pulled-off-slick-visual-style-with-after-effects.png?id=52171161&width=1200&height=800&coordinates=150%2C0%2C150%2C0"/><br/><br/><p class="">Ever think that in 2024 we'd have a beautiful, black-and-white <a data-linked-post="2661200697" href="https://nofilmschool.com/2017/11/slapstick-and-zombies-films-have-inspired-peter-jacksons-work" target="_blank">slapstick</a> masterpiece about a guy and his <em>Loony Toons</em>-esque vendetta against hundreds of beavers portrayed in goofy, straight-forward beaver mascot costumes? </p><p>I sure didn't, but I've never been so delightfully ignorant. </p><p>Mike Cheslik's <em>Hundreds of Beavers </em>is a beautiful anomaly of a movie made with his long-time high school best buddy Ryland Brickson Cole Tews in the leading role. From their personal history, to the conception of the project, to utilizing savvy indie filmmaking techniques to their fullest extent <em>Hundreds of Beavers </em>is a pipe dream for anyone who's ever wanted to make a movie with their friends and have it really take off. It doesn't hurt that it's truly independent through and through.</p><p>Below, Mike dives deep into his filmmaking origins, breaks down the art of slapstick comedy, and most importantly, explains how they pulled off those titular "hundreds of beavers" visually.</p><p><em>Editor's note: the following quotes have been edited for length and clarity. </em></p><hr/><p><br/></p><h3>The Secret Origins of Mike Cheslik, Filmmaker</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="e3e65a32a278802367ad4fbdd2af928e" data-rm-shortcode-name="rebelmouse-image" id="d9709" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52171160&width=980"/><p>"I started to make videos in high school when it was MiniDV. </p><p>I graduated high school in 2009 in Milwaukee where I met [<em>Hundreds of Beavers lead</em>] Ryland [Brickson Cole Tews] and the principal hired us to do a video promoting our school for the open house night for parents, and we just filled it with a bunch of visual gags and jokes. It was like seven minutes, and then we got a bunch of laughs from all the parents that went that night, and we really enjoyed getting laughs for the video that we made together. </p><p>I went to NYU at 18 and he went to University of Wisconsin-Milwaukee, but we continued working together. I made a few films at school and then after college we did a show called LIPS: The League of Interplanetary Process Servers that was half live action, half animation, really simple crude after effects animation, probably inspired by Adult Swim stuff and <em>Adventure Time</em>.</p><p>We tried to fill it with jokes. I spent a little time trying to sell that show, trying to sell the pilot we made to a real studio, and it was just kind of a waste of time. And while I was driving around LA trying to sell that, Ryland just started shooting a movie called <em>Lake Michigan Monster</em> and started sending me footage. Then I started editing the footage, and by the third act I was more involved and we did this whole storyboard and sequence for the end of that movie, which turned into a dry run for <em>Hundreds of Beavers</em>, our second feature and my directorial debut."</p><h3>Crafting 'Hundreds of Beavers' From Concept to Reality </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="fbeed217b77439a9af24b8ab9af99314" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ZOq5BsDPQfo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>"It starts as gags on note cards the same way you'd have written ideas on note cards just being moved around this big Joseph Campbell structure of "guy thrust into wilderness learns to survive, learns to become a master fur trapper and catch hundreds of beavers", and then the beavers get their revenge in act three. </p><p>That basic structure is super simple with a mentor figure and a love interest. That is how all of the gag ideas are hung on that simple structure. And we just spent months moving the gags around to get the runners working and have all the runners kind of dovetail. And then we had a big grid for the second act that was like the 12 stops in the trap line and the five loops that he makes around the trap line, each item he gets affects each location. So it's like every row is a physical principle of the location and every column is the new item.</p><p>He gets on that loop and then drawing 80 gags or whatever from that. So it was a big crossword puzzle. It was like writing a crossword puzzle, and once all those gags are in place for the structure as simple little note cards ideas. </p><p>Then I did the actual storyboards in Storyboard Pro, which is a pretty standard storyboard software for an animation pipeline. You can print Storyboard Pro storyboards into a PDF that you take on set and you check off the shots as you shoot them, but you can also export it into a QuickTime that you lay down in Premiere Pro and sync to music. </p><p>So the timeline for <em>Hundreds of Beavers</em> began in writing, and that same timeline took us all the way to the end of the film, and we were just dropping the effects elements onto the animatic as we went, keeping the same songs in most cases. And so the entire shoot less than covering scenes like a normal movie, it was a slowly collecting effects elements. It was just a very long, tedious scavenger hunt for effects elements to drop on Animatic."</p><h3>The Power of a Well-Executed After Affects Workflow </h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="503c9f0f9f48a4e2808f9ab6661a583e" data-rm-shortcode-name="rebelmouse-image" id="eeb9d" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52171113&width=980"/><p>"Very little was built. It's all After Effects comps with Shutterstock elements. The only thing that's real is the cabin is a real historical cabin, and then there was just the little oak arena of time.</p><p>The merchant stand was built by Ryland's dad and placed in front of a real cabin. Other than that, I don't know how much we built. I mean, my buddy's barn becomes the fight interior where Ryland gets chained to a table. But the art there is, we put some fish on the wall and we put up a quilt my wife made, and then we lugged a table in there. It's not a ton of set design. It's mostly After Effects comps. </p><p>My shoddy comp work being hidden by the grainy black and white, that aesthetic of doing grainy black and white on <em>Lake Michigan Monster</em> and <em>Hundreds of Beavers</em>. I really think if you don't have much money, you should just steal that because you can make a big crazy image without having to achieve a high quality visual effect.</p><p>You just get the audience to accept that. It's just going to look kind of shoddy up front and just say, nah, this is a punk. This is a punk lo-fi look. This is our style, man. But actually it just allows you to make stronger images quickly. And then we're not limited in writing. We know we can do anything as long as it fits into the parameter of it's just Ryland and mascots, and we have three days on set with the other actors. </p><p>But other than that, it's like 12 weeks of mascots and Ryland in the snow and on green screen. So any idea we want to have within those limitations we can achieve with our silly look. So I don't know. I think the grainy black and white thing that could become a whole look the way that we would always say an indie game, so many of them are pixel art because that's a style that a team of two can achieve all their biggest ideas if they stick to pixel art instead of trying to make a more sophisticated aesthetic.</p><p>It was like 1500 after effects shots over the four years. And sometimes the first element for a shot would come in, I would do a temp version, and then two years later, the fish element or whatever would come in and I would add that. </p><p>We shot I think it was 12 weeks, nine of which were winter exteriors, and I then I just had this [post production] project going for four years—five, including the release and just not updating Adobe or my operating system that entire time."</p><h3>How Did They Craft All Those Beavers?</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="858e13f6c9bc678b2abb62373bba3016" data-rm-shortcode-name="rebelmouse-image" id="3e135" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52171166&width=980"/><p>"Just bought them online. I mean, we added the second tooth. Everything is pretty much just ordered on Amazon. Some props were made, oh, we need a wooden fish. And then Ryland's dad would make it. We went to a real guy for the rocket miniature, but most of these things are pretty handmade or bought offline. It's very simple. I mean, all the effects are me just downloading Shutterstock images and comping them in really simply. </p><p>[There were just six beavers] and then I had just seen a <em>Lord of the Rings</em> special feature where they just duplicated a group of three. You don't want to duplicate one subject a hundred times, but if you have a little group that makes it a lot easier, and then they're bumping into each other, so it just adds a little realism to it."</p><h3>The Art of Slapstick Comedy </h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="ee1800d84484d508d15578797c46a0e6" data-rm-shortcode-name="rebelmouse-image" id="12524" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52171119&width=980"/><p>"I think there should be a bedrock of the straight world, like <em>Monty Python and the Holy Grail</em>. They actually did try to make a nice looking medieval setting without a lot of money. They tried their best to establish the straight world. </p><p><em>The Naked Gun</em> movies have a real professional crew doing their best to have the aesthetics of a cop show or a cop movie, and then the music is straight. It's from the Dick Wolf library, and that's what <em>Monty Python and the Holy Grail</em> does too. There's very straight music, and then you want your one joke happening at a time in an otherwise straight, logical world. And then clarity, just making sure that all extraneous information is removed from the frame so that you have a really clear joke and then you want your setup should be straight, and then there should be a hard turn into the joke.</p><p> In Ryland's case, we also crafted his performance. He's a puppet where he just has to hit communicative poses one after the other and kind of pop and log through them the way that to share up a food egg would where he is just using his whole body. He's very quickly demonstrating one emotional beat after another, and he's like an editor's dream. He gets through those. So physically and quickly."</p><h3>Mike's Story-Driven Advice To Filmmakers </h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="703f4b00d69598e18d424b82742dc827" data-rm-shortcode-name="rebelmouse-image" id="f6d93" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=52171120&width=980"/><p>"I think you need to entertain an audience and start with that. And I think a movie should have a strong dramatic question that heightens, and it should be a question with a definitive answer. Is the steam roller going to crush the guy? And that could be the whole movie, and it has a definitive answer where either it crushes him or the steam roller is destroyed, and then we know that's the end.</p><p> You need a physical dramatic question that can play out visually, and I think you should have shots with more than one thing in them, not just singles of people talking, but I think a shot should have two people or a person and an object or show the spatial relationship between two things. And I think that the story, the goal and obstacle should play out physically. Even if you do have dialogue, it should still be playing out onscreen visually. </p><p>And I think if you want to do bigger, crazier things, you should pick a lo-fi aesthetic and let the audience know right away that's how it's going to look, so that their expectations of realism are set at zero and you can have bigger, crazier ideas."</p><p class="">Hundreds of Beavers <em>is now available to buy and rent digitally. </em></p>]]></description><pubDate>Fri, 03 May 2024 22:55:18 +0000</pubDate><guid>https://nofilmschool.com/hundreds-of-beavers</guid><category>Mike chesnik</category><category>Comedy</category><category>After effects</category><category>Ryland brickson cole tews</category><category>Loony toons</category><category>Hundreds of beavers</category><dc:creator>Grant Vance</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/how-hundreds-of-beavers-pulled-off-slick-visual-style-with-after-effects.png?id=52171161&amp;width=980"></media:content></item><item><title>Set the Table For Tension With Tips from This 'Under the Bridge' Director</title><link>https://nofilmschool.com/nimisha-mukerji-under-the-bridge</link><description><![CDATA[
4. <img src="https://nofilmschool.com/media-library/nimisha-mukerji-on-set.jpg?id=52160927&width=1200&height=800&coordinates=0%2C0%2C0%2C4"/><br/><br/><p>There's tension inherent in true crime, but a seasoned director like <a href="https://www.imdb.com/name/nm2240418/" target="_blank">Nimisha Mukerji</a> is needed to form that tension into a storyline that takes viewers on an emotional journey, which is exactly what she does in episode four of Hulu's <em>Under the Bridge</em>, "Beautiful British Columbia."</p><p>The series is a retelling of the murder of Reena Virk in the 1990s, while a writer (played by <a href="https://nofilmschool.com/war-pony-terry-watson" target="_blank">Riley Keough</a>, who also produced) and a police officer (Lily Gladstone) investigate. But episode four is more a story of familial drama, a flashback inside other flashbacks, showing how Reena's parents and grandparents made a home in Canada. This episode is more of a tragedy, as we all know what's going to happen; we see all the choices these characters make and how they lead to Reena's violent death. </p><p>We had the opportunity to hop on Zoom with the episode's director, Mukerji, who told us how story beats came out of rehearsals, the way she covered a pivotal table scene, and more. </p><p>Enjoy.<br/></p><hr/><p class="shortcode-media shortcode-media-youtube">
5. <span class="rm-shortcode" data-rm-shortcode-id="524209e69220098244ca295121a9a322" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/s2MC8vZe6mI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
6. <small class="image-media media-caption" placeholder="Add Photo Caption...">Under the Bridge | Official Trailer | Hulu</small>
7. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
8. <a href="https://www.youtube.com/watch?v=s2MC8vZe6mI" target="_blank">www.youtube.com</a>
9. </small>
10. </p><p><em>Editor's note: The following conversation has been edited for length and clarity.</em><br/></p><p><strong>No Film School: We'll start with your background and how you got into directing. I know you had a feature that was at The Oprah Winfrey Network (OWN), but I would love to hear you talk about that as well. </strong></p><p><strong>Nimisha Mukerji: </strong> My breakout film was a feature called <em></em><em>65_RedRoses</em>. It was picked up by Oprah Winfrey for her documentary club on OWN. And that film was about a young woman. I was 23 years old when I started making the film, and it was about a 23-year-old young woman named Ava who had an illness called cystic fibrosis. So when kids are little, they have trouble pronouncing cystic fibrosis, so they learned to say "65 roses" instead. So that became the title for the film. </p><p>And yeah, I mean, it was my first really big project, and when it released, it was exciting. It had a really strong critical response. It played internationally. When you have someone like Oprah Winfrey get behind a project, a lot of people watched it. </p><p>But again, I think for me, the real crux of it was that I think why I became a storyteller in the first place was to make a positive impact in some way.</p><p>And I think with that film, what was really exciting was that when we set out to make the film, we were like, if even one person wants to register to be an organ donor as a result of watching this film, it will have been a success. And so we got to see real change happen. I shot the film in Canada. I was Vancouver-based at the time, and so it was amazing to see organ donation rates triple in British Colombia, and Oprah got behind it with a national organ donation campaign. So it was like what we saw is we made a great film and then that great film we were able to use to create kind of a movement. So that was really exciting and then became really addictive because when you have a success, you just want to do it again. </p><p>And so I started, I ended up making more documentary features and then moving into factual and then from factual doing short films and from short films moving into television.<strong><br/></strong></p><p><strong>NFS: And how'd you hook up with the <em>Under the Bridge</em> team?</strong><strong><br/></strong></p><p><strong>Mukerji:</strong> I met the creator Quinn Shephard and the showrunner Samir Mehta ... at that point, I had done quite a bit of episodic work, but we did talk about my documentary experience, and in the end, when I used to not mention the documentary work because I thought it would be kind of held against me—that you're coming from unscripted, can you work unscripted? </p><p>But I learned to turn that into a superpower because it was really about, how do you work with non-actors? How do you constantly think about story? You have to always be setting up for the story to go in different ways. If you want that payoff to happen, you need to make sure you get that beat now. You don't get multiple takes. You really have to walk away from a scene knowing you got it and that you'll be able to put it together in the edit room.</p><p>So the documentary training was really helpful, and coming out working with young talent and starting out in the kids space, all of that became assets in a project like <em>Under the Bridge</em>, where there's a lot of really young talent. But also, the story was very personal for me because while I'm DGA and I work in the States, I grew up in Vancouver, and so they had mentioned this episode, episode four, "Beautiful British Columbia," which was going to delve into Reena's family. </p><p>And I really immediately responded to that when they said that there's this kind of standalone episode, I was like, I really feel this is a story. I know personally having parents that immigrated, but also I am the same age that Reena was. We were born the same year, and so I remember that time really distinctively, and I experienced bullying as well. So I really connected to the material just even from the synopsis that they gave. </p><p>I think everything kind of came together at exactly the right moment. I had these experiences coming out of unscripted, but then moving into episodic, I'd done a lot of episodic at that point, but then I also was just deeply connected to the material and knew the story very well.</p><p><strong>NFS: Since it is such a unique break from what the previous episodes have been, how did you and the showrunner approach the planning for the episode and what the tone was going to be?<br/></strong></p><p><strong>Mukerji: </strong>So much of it was on the page, the writer, Stuti Malhotra, who's South Asian as well, and had done a lot of research, and Quinn as well. There was so much sensitivity around Reena's story, but particularly this episode felt very important because it was delving into her family history. And so, working with Samir, there were so many details because it was spanning generations. </p><p>You're going back into the grandparents, the parents, and that story of their history is juxtaposed against this dinner that's happening, which is the first time that Reena has the girls over to her home. And so it was trying to find—there's tension obviously in both stories. Her parents experienced racism, her grandparents experienced racism. They came from different communities within the Indian community. Her parents, her mother was Jehovah's Witness. So there were all these things, hurdles they had to overcome in order to build a life for their family.</p><p>And they had all these dreams, but that past kind of collides with the present-day tension of everything that Reena's going through. So, while all of that tension was there in the script, Quinn and Samir were really good about also talking about ways that we could showcase the love within the family. And that was something I really wanted to lean into, the light, the cracks of light within the darkness of this story. And this felt like an opportunity to show the love between her family and her parents. And that gives you a glimpse of the foundation that they had, the strength of their marriage, of how they were able to deal with this unbelievable tragedy in their life.</p><p class="shortcode-media shortcode-media-rebelmouse-image">
11. <img alt="Vritika Gupta as Reena in Under the Bridge" class="rm-shortcode" data-rm-shortcode-id="4c613c71cb5b57faeceaffa2aa9288aa" data-rm-shortcode-name="rebelmouse-image" id="17e97" loading="lazy" src="https://nofilmschool.com/media-library/vritika-gupta-as-reena-in-under-the-bridge.webp?id=52161115&width=980"/>
12. <small class="image-media media-caption" placeholder="Add Photo Caption...">Vritika Gupta as Reena in <em>Under the Bridge</em><br/></small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Darko Sikman/Hulu</small></p><p><strong>NFS:  I would love to discuss how you approach rehearsals as a director.</strong></p><p><strong>Mukerji: </strong>This was the first time I've ever been able to have rehearsal time with the actors—and well, you always fight for it on set because it's not a given that you'll have much time when you get there. </p><p>But in this case, production really protected for some time for rehearsal. And it just made all the difference because we rehearsed two scenes, the dinner scene and the scene in the closet because there were so many characters and there were so many beats between the characters and looks. And so we wanted to just take the time to really explore. </p><p>And Archie and Ezra, who played the parents—Archie Punjabi and Ezra Khan—they come from theater background as well. And that was such a gift because they're the ultimate collaborators and they're so generous to each other and the girls. And so, very quickly, it became a safe space to just explore the characters.</p><p>I know one thing that we discovered in the rehearsal was Chloe, who plays Jo, she dropped the earrings when we were rehearsing. She gets startled by Suman behind her, and she drops the earrings. And Archie really loved that. It just sort of showed also a carelessness with this very precious object. And she was like, "I really love that moment. Do you think we could keep it?" And I was like, "I think we should keep it." </p><p>And so then it became a part of the rehearsal. So we were figuring out all those beats and moments in the rehearsal space and not on the day when there's a huge crew watching and the clock's running, and you still try to protect as much as you can for the actors to explore, but you're on a time crunch. And so having that time to sit through where even the dinner scene went, Suman exits to go pick up, get a pizza so that it gives Manjit a chance to get into it with Dusty, those were all, those are extra beats that you're figuring out with the actors.<br/><br/>And then once you get those things, that rhythm of the scene when you go on the day, then it becomes about supporting that with the camera team and the lighting. And then also the production design team has figured out all those elements. How many pizzas are there going to be? Is she going to pour that drink? Who's pouring a drink? </p><p>All of these things matter because resets take so much time. And again, you want to keep your time to the takes and allow the actors to really have that time for themselves, not eating the time on resets. </p><p>So we ... by the time we went to shoot, we had figured out all those little things with the choreography. It's kind of like an action scene. That dinner scene is the way I thought of it, even the closet. I was like, these are action sequences. While no one's physically fighting, there's a lot of cues and small decisions that are impacting the rhythm of everything.<br/></p><p><strong>NFS: You did bring up the table scene, and those are notoriously difficult to cover and choreograph. Maybe we can talk about the coverage.</strong></p><p><strong>Mukerji:</strong> I think what also helped was the girls were really hungry that day for some reason. And, like, teenage girls, if you ask them to eat pizza, they will deliver. And these girls were so game to eat the pizza. So it was great because they're really in it. I think I can say that. </p><p>Vritika [Gupta] as Reena is just so incredible. She has such amazing instincts. Same with Aiyana, who plays Dusty. Anytime you need to cut to something, someone, Aiyana and Vritika are in it. They can say so much without any words. And then of course, Chloe and Izzy, they were such lovely, wonderful, friendly girls on set. And then you'd see them just be able to just turn it on as soon as the camera's on and be in that character and be in that moment. But the atmosphere that all the girls created off-camera was just really, really joyous. So it was a total counterpoint to what we were shooting.</p><p>But yeah, I think I don't shot list. I do shot list, but I take, my shot list is informed by really the most important thing to me is a beat sheet. And so the beat sheet is the key dialogue, but the key action and the key looks. And to me, even if my shot list has to be thrown out, because there's all these things that happen on set as things change constantly and the shot list that you have that you constructed, sometimes you don't get to every single shot. I think when you're in a movie set, maybe you can go, these are my specific shots, these are my storyboards. But in television, I find knowing beats, I can give up a shot. I can't give up a beat if I don't have that beat and it's not captured in that closeup, or maybe that character walked towards me and I got it there.</p><p>But if I'm checking off to say, did I get that beat? And if I didn't get that beat, then we need to go again, or I need to do an additional shot, but I'll let go of a dolly shot, for example. I'll let go of that because at the end of the day, I'm like, that's not as important as did I get that key moment where the character maybe grabs someone's hand under the table or shoots a look at his wife. </p><p>Or, in this case, there's so much going on between Reena and Jo and Manjit that there's so many little moments and looks that you just want to make sure that you're getting those things. But I also was really fortunate because my DP, Minka Farthing-Kohl, was such a collaborator on this, and we knew we had limited time, so we already, with our AD, knew that these scenes were going to be big.</p><p>So we did them at the beginning of the day so that the other thing I do is I'll front load the day and then know that the last scene, I could probably get it in two shots. I had to, so you're protecting for it. But we went in with a plan, we talked with the three of us, Lorie [Gibson], my AD, and we talked through those scenes. How are we going to shoot them? What's the most important thing to protect? Where do we start? Sometimes directors want to start on the close, but for me, I use the wises as rehearsal time again to get people in it. And then what's the order we're shooting? So we had figured out a lot of that. We talked about it, there's two parts. There's like you're living the scene as the director, you're living the scene as the story.</p><p>You're trying to be in the scene as you're reading it, and what does everybody need? What do the characters need? How do you motivate movement? How do you have all the pieces and props there? And then the other thing is living out the day of you're going to, the day going to go when you're shooting it, and you want to get ahead of all those little problems that add up into a lot of time. And so I'll live out that day like, okay, if we're shooting this scene first, what's the first thing I want to do? What do I want to move into after that? What do I want to do after that? And live it out so that again, you get ahead of a lot of problems.<strong><br/></strong></p><p class="shortcode-media shortcode-media-rebelmouse-image">
13. <img alt="Vritika Gupta as Reena in Under the Bridge" class="rm-shortcode" data-rm-shortcode-id="058f24c0e000bdac69b4b6a4db2b3894" data-rm-shortcode-name="rebelmouse-image" id="ded0c" loading="lazy" src="https://nofilmschool.com/media-library/vritika-gupta-as-reena-in-under-the-bridge.webp?id=52161118&width=980"/>
14. <small class="image-media media-caption" placeholder="Add Photo Caption...">Vritika Gupta as Reena in <em>Under the Bridge</em></small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Hulu</small></p><p><strong>NFS: I do like to ask, especially with directors, do you see novice mistakes that are made often and can you advise how to avoid them?<br/></strong></p><p><strong>Mukerji:</strong> I do want to empower emerging filmmakers and new directors. It's really easy to feel intimidated and overwhelmed, but the thing that I always kept in mind and even today, is that nobody has shot this scene before under these conditions with these actors, under these circumstances. That's part of the joy of directing is there's always something new and something you're learning and something that's happening for the first time. So experience is important, but you also have to trust your gut. I think I'll oftentimes just the sheer number of people that's on set; you sometimes get stressed about performing for people, but to me, ultimately, it's like what is in the frame? All that really matters to me is what's in the frame, living in the frame, and operating with kindness. </p><p>And if you don't know something, just say you don't know. To me, it's like this is a collaborative sport filmmaking, and there's a reason. There's this large team. And what I started to learn was that the number of people on set, they're there to help achieve what your vision is. And the showrunners are there supporting you, protecting for the whole series. And they're collaborators. The writers are collaborators. Everybody wants to make this count.</p><p>I think sometimes a novice mistake is feeling alone on set, feeling like you have to have all the answers, feeling that you don't have the experience, and especially for BIPOC directors and female directors occupying that space, that space is yours. There's one director on set. So really allowing yourself to take that in, that you're leading, you're leading your team. So it took me a while to understand I need to take that space, use that space, occupy that space, and then again, I think kindness is so important.</p><p><strong>NFS: Is there anything you wanted to add about your episode that I didn't ask about?</strong></p><p><strong>Mukerji:</strong> I think the only other thing I'd love to mention is that Illahi Rayani and Bally Gill play the young Suman and young Manjit. And the other thing that was really special about the episode is that you have these guest stars, people who are just coming in for one episode. And so again, to watch them come in, I think part of what was really exciting for me directing this episode was that I had other folks coming in just for this episode. </p><p>And so we formed a family with the reoccurring, our principal cast, and then the cast that were just coming in for this episode. And we really looked at this as, how can we make this into a mini movie? And so there was this sense of everyone coming together, and I know Ezra talked to Bally about Manjit. There was exchange of information. It was just really, really collaborative. </p><p>And I just want to make a shout out for them because coming into the episode, and again, they have theater background, theater training, they were just so generous with each other and really understood how important it was to get those scenes right, because we only had one chance. It's only in this one episode. </p><p>It was really exciting to just work with that international cast.</p>]]></description><pubDate>Fri, 03 May 2024 22:03:00 +0000</pubDate><guid>https://nofilmschool.com/nimisha-mukerji-under-the-bridge</guid><category>Under the bridge</category><category>Hulu</category><category>True crime</category><category>Director</category><category>Directing advice</category><category>Tv directing</category><category>Interview</category><category>Nimisha mukerji</category><dc:creator>Jo Light</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/nimisha-mukerji-on-set.jpg?id=52160927&amp;width=980"></media:content></item><item><title>Writing the Unfilmable &amp; Managing Your Career When SH*T Hits the Fan</title><link>https://nofilmschool.com/unfilmables-podcast</link><description><![CDATA[
15. <img src="https://nofilmschool.com/media-library/challengers.webp?id=52163489&width=1200&height=800&coordinates=150%2C0%2C150%2C0"/><br/><br/><p>Writing a screenplay is like following a cookie recipe, it’s closer to magic than science. You don’t have to follow screenwriting “rules” to create an amazing story. There’s something else you don’t have to do in your career. When serious problems arise in your personal life, you don’t have to keep working at your typical pace. It’s okay to ask for help and decrease your output.</p><h3></h3><br/><iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm/?e=NFS6837028420" width="100%"></iframe><h3></h3><br/><p>In today’s episode, No Film School’s GG Hawkins and Jason Hellerman discuss:</p>
16. <ul> <li>The number of “unfilmables” on the first page of the <em><em>Challengers</em></em> script</li><li>Not getting hung up on the idiosyncrasies of screenwriting</li><li>Hooking the reader in the first 10 pages with your confidence</li><li>Asking for specific support when things are rough in your personal life</li><li>Accidentally lighting a trash can on fire</li><li>Taking time to process life’s challenges</li><li>Using writing as a way to process loss and sadness</li><li>Cancelling meetings and relying on email</li><li>The benefits of a meditative practice</li></ul><p><strong>Mentioned:</strong></p><a href="https://nofilmschool.com/challengers-movie-script-pdf" target="_self"><u>Why Did the First Page of the 'Challengers' Screenplay Go Viral?</u></a><h3></h3><br/><p><strong>Subscribe to the No Film School Podcast on:</strong></p><ul><li><a href="https://podcasts.apple.com/us/podcast/the-no-film-school-podcast/id1078804724" rel="noopener noreferrer" target="_blank">Apple Podcasts</a></li><li><a href="https://open.spotify.com/show/1vfyZ6hx3QJWS6etdDZZ5V" rel="noopener noreferrer" target="_blank">Spotify</a></li><li><a href="https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vTk5MTEMzMjI5NDg4NTcz" rel="noopener noreferrer" target="_blank">Google</a></li></ul>Get your question answered on the podcast by emailing <a href="https://nofilmschool.com/2025/06/editor@nofilmschool.com" rel="noopener noreferrer" target="_self">podcast@nofilmschool.com</a>.<h3></h3><br/><iframe frameborder="0" height="482" src="https://playlist.megaphone.fm/?p=NNLLC3229488573" width="100%"></iframe><p><em>Listen to more episodes of the No Film School podcast right here:</em></p><p class=""><sub><em>This episode of The No Film School Podcast was produced by <a href="https://nofilmschool.com/u/lostingraceland" rel="noopener noreferrer" target="_self">GG Hawkins</a>.</em></sub></p>]]></description><pubDate>Fri, 03 May 2024 21:03:00 +0000</pubDate><guid>https://nofilmschool.com/unfilmables-podcast</guid><category>Podcast</category><category>No film school podcast</category><category>Challengers</category><category>Unfilmables</category><category>Screenwriting advice</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/challengers.webp?id=52163489&amp;width=980"></media:content></item><item><title>Break Down Your Emotional Barriers To Tell Your Best Story</title><link>https://nofilmschool.com/african-giants</link><description><![CDATA[
17. <img src="https://nofilmschool.com/media-library/after-that-big-slamdance-news-lets-revisit-this-years-audience-award-winner-african-giants.jpg?id=52164918&width=1200&height=800&coordinates=364%2C0%2C0%2C0"/><br/><br/><p class="">While normally we like to part with closing advice here at No Film School's interview hub, I'd like to switch it up and open with some of my favorite yet from <em>African Giants </em>writer-director Omar S. Kamara: It's okay, even sometimes good, to be sad. </p><p><em>African Giants </em>is very much a movie in what I like to call the "walk and talk" genre (a genre I love and adore). It's a tale of two brothers working through an emotionally hard time and figuring out a lifetime of emotional baggage along the way. It's really great, very raw, and autobiographical to Omar's life. <br/></p><p>The autobiographical nature of <a data-linked-post="2668104147" href="https://nofilmschool.com/slamdance-2025" target="_blank">Slamdance</a> Audience Award Winner <em>African Giants </em><em></em>lends itself to speaking from the heart with <a data-linked-post="2667605400" href="https://nofilmschool.com/emotional-truth" target="_blank">emotional truth</a>, and it shows. </p><p><span></span>Below, you can read some excerpts from our chat with Omar on his influences (<em>Blue Valentine</em>, oof), finding community among filmmakers, setting out and staying true to your merits as an indie filmmaker, and, once more, that it's okay to cry. </p><p><em>Editor's note: The following interview quotes are edited for length and clarity. Viewer discretion advised. </em><br/></p><h3>Never Give Up On Your Filmmaking Dreams—Even If You're From Virginia </h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="42fd8d9642353845ca3c1563c6e9fbd3" data-rm-shortcode-name="rebelmouse-image" id="c868b" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52164920&width=980"/><p>"My parents are originally from Sierra Leone in West Africa. I was born and raised in Virginia, and so if you know anything about Immigrant parents, we're supposed to be doctors, lawyers, or engineers. And my older sister is actually a surgeon. She's literally now just finishing her residency. </p><p>So that was provided a lot of complications for me when I was growing up. My parents were like, why can't you be like your sister? Your sister's doing great. She's just killing it. So that was a lot of pressure, but I think what really happened to me, I always loved film and comic books a lot too. I was a big Marvel guy. I used to read comic books when I was supposed to be studying. I used to read the <em>Ultimate Spider-Man</em> and the <em>Amazing Spider-Man</em>, when I was supposed to be studying for school and stuff. And I would hide it actually in my SAT books and stuff, so my parents would think I would study, and I was actually reading comic books. So that was a big thing for me. </p><p>And then I think what really crystallized it for me when I was 19, I was in college and I watched <em>Blue Valentine. </em></p><p>Listen, at the time I wasn't crying. I was doing this hyper-masculinity thing, and I watched that film and I sobbed. I can still remember where I was. I can still feel the mattress, I can still remember the temperature in the room, and something broke in me and I was like, whatever this is, I want to do this, but with African characters from my background. </p><p>I'm from Virginia. We don't really have filmmakers. I didn't know that was a thing. So I kept trying to push it off, and push it off, and push it off until eventually I got a job and I was working a job in—it wasn't corporate, but I was working a job at an institution and I realized I want to make films and I can try to pretend like I'll do it later, but I can't do this working this job.</p><p>I applied to AFI with a very ragtag film I made where I was a director, editor, or producer, and early when I was the actor, but that has been removed now. I got into AFI and then met some great collaborators and a lot of those collaborators were the same people who I made my feature with."</p><h3>On Finding Community as a Filmmaker</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="3bbb472e97c4b5f45e84a347aab1f022" data-rm-shortcode-name="rebelmouse-image" id="48720" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52164922&width=980"/><p>"I'm the poster board for AFI. I know this is No Film School, but I'm the poster boy for AFI because I came from not knowing how to make a movie, and [I learned the the discipline]. </p><p>So my cinematographer who shot my first film at AFI, then my thesis film, now my feature, he's actually shooting my next short with me. My editor the same thing. I have all these people who I met who bring their creative genius and things that they do way better than me, and we just keep making stuff together. The community was really important. I met a bunch of great filmmakers who I still make movies with today.</p><p>I have a couple of people I met at AFI who I thought went to AFI, and I found out they weren't actually students there, but they just became caught up in the community. So I'd see them at all events. Actually, the production designer on my feature I thought was an AFI student. She was not, but she just worked on so many AFI films. She became a part of the community. </p><p>I think for me, what actually happened was I made my short and me and my writing partner got signed. And what advice I would give anyone is I, at the time—like I said, I'm from Virginia—didn't have any connections with film industry. I was under the impression that now I was in the industry where I was like, I'm taking general meetings, we're writing spec scripts, and I was like, it's only a matter of time until we get signed or we get something sold. </p><p>That did not happen. </p><p>Taking a bunch of meetings, follow ups, waiting for things to happen. It's not the right fit, all that stuff. So I actually made the movie out of frustration a little bit. I was living off some savings that I had mixed with some of those loans.</p><p>While I was a writer I was just watching my money decrease, decrease, decrease, decrease. And I was like, this is not the plan. I thought this was going to work. It's not working. </p><p>So I had to set my short that I made in school to one of my old places and one of my old internships, I placed an internet and they messaged me back and were like, Hey, this is great. Are you looking for a job? And they offered me a job as an assistant, which I did for a couple of years. And now I actually still work for him, part-time, shout out to John Hamburg.<br/></p><p>When I took the job I made a promise to myself, I was like, if I take this job, the only thing I'm going to do is find a way to make a micro budget feature. I need to make a micro budget feature because I'm a director and I'm going to direct things. I can't wait for people. I have to direct it. And so I was looking at medicine for melancholy, which Barry Jenkins and Destin Daniel Cretton did.</p><p>They did these indie films that people don't actually know about unless you're at a film school before they did the <em>Moonlight</em> and <em>Short Term 12</em>, these other things. And so my thinking was raise the money, find a way, make this thing, and then use that to catapult to your next project, kind of show people I can sustain a narrative of an hour. </p><p>And so I wrote a film that was very personal that was about me and my brother. And the whole point when I was writing the film was I knew I could make it for cheap."</p><h3>The Art of the "Walk and Talk" Genre </h3><br><img alt="" class="rm-shortcode" data-rm-shortcode-id="806993fda44e97e65130114ee0accaf4" data-rm-shortcode-name="rebelmouse-image" id="9d82a" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52164923&width=980"/><p><i>"Down by Law </i>is amazing. I mean, I just think about that opening montage where it's like that has the song, we're just scrolling through the town and scrolling through the cars. It's like it's a genius. Well, actually, I'm going to steal that. I wrote that into one of my screenplays because I think it's just so beautiful repurposing it from Africa and suburbia, it's going to be great. But inspired by that. </p><p>And for me, I love [walking an talking movies] films—those are my favorite films. Another film that was a big inspiration for me is <em>Weekend</em> by Andrew Haigh. That's a film where these two guys eat over a weekend and they fall in love and it's literally them just talking and hanging out and they go to the fair and they come back home. But nothing amazing happens. </p><p>But like you said, when you have something like this and there is no plot, or I shouldn't say no plot, but less plot, it can become incredibly character based. It can be about these moments, it can be about this connection. And that's one thing that really interests me. </p><p>We kind of try to do that with <em>African Giants</em>, and the film is like 98% autobiographical. It's based off me and my brother. So what I changed was some of the conversations didn't happen in one weekend. Some of the things didn't happen all that time, but there were real conversations we've had over the years. </p><p>As I was writing, someone said to me, the film feels a little bit like a diary, and that was a great compliment to me. It was really real conversations to be had that I then put into the script and it just, two brothers hanging out over the weekend. There's some bigger pot stuff that happened, but overall that's a pretty much it."</p><h3>The Importance of Being Earnest (and Crying)</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="1edeb76e18c0710b9671583adf6405fd" data-rm-shortcode-name="rebelmouse-image" id="8c1a8" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52164924&width=980"/><p>"Well, it's actually good to cry. </p><p>What I was saying earlier in terms of I was doing that masculinity thing and not crying. I had a mentor at AFI that did a class where we had to—he was saying, most filmmakers have a barrier up, which is why they won't make anything of note. You actually have to knock that barrier out, be able to feel your real emotions. </p><p>It's scary, it's jarring, whatever. </p><p>We did an exercise, and through his guidance, I broke through. At that time I hadn't cried I don't think since <em>Blue Valentine.</em> I ended up sobbing in front of my class—and I mean sobbing. Snot coming out of my nose, tears coming out. And my teacher came to me afterwards, me and said, now, when you write stuff, you try to get to this place, this place of emotional authenticity, because that's how you make something of value.</p><p>He told me just be aware from now on you'll probably cry a lot more. And that was years ago. And since then now I cry once a week. When I write my screenplay, I use that emotion. I go to that honest place. What's the real thing I'm ashamed of or bothered by?"</p><h3>Emotional Relevance is Your Best Friend </h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="8305da1a2c7e95bb3ffcbeeee43d6b22" data-rm-shortcode-name="rebelmouse-image" id="9d810" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52164925&width=980"/><p>"It really was just me trying to find a way to tell a story without waiting for people to give me permission to do so. And then I was fortunate enough, like I said, that I have a style of film that can lend itself to the more micro budget thing, but it was really just about the honesty of the journey between two brothers trying to figure stuff out. My brother actually, funnily enough, did not live in LA, but actually just moved to LA and once people see the movie they'll know why that's pertinent.<br/></p><p>There were things that happened kind of serendipitously in terms of emotional relevance around the film that real life was mirroring within the screenplay. I just wanted to be honest and tell the truth about how messy brotherhood is, how messy the bonds from our parents and some generational trauma that comes down to us is. </p><p>I'm also a little bit of an optimist and kind a believer in the human condition. So in the film, even though all these things happen and they fight and they deal with all these things, to me, love is the most important emotion. </p><p>Well, you'll figure it out, right? </p><p>It's not going to be smooth, it's not going to be easy, but you can try to use that as your guiding force. So I think that's all I'll say. I feel like we touched on it, but I feel like that's all I'll say in conclusion."</p></br>]]></description><pubDate>Fri, 03 May 2024 21:03:00 +0000</pubDate><guid>https://nofilmschool.com/african-giants</guid><category>Slamdance</category><category>Slamdance 2024</category><category>Emotional truth</category><category>African giants</category><category>Omar s. kamara</category><dc:creator>Grant Vance</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/after-that-big-slamdance-news-lets-revisit-this-years-audience-award-winner-african-giants.jpg?id=52164918&amp;width=980"></media:content></item><item><title>What is Ethos in Advertising?</title><link>https://nofilmschool.com/what-is-ethos</link><description><![CDATA[
18. <img src="https://nofilmschool.com/media-library/what-is-ethos-in-advertising.jpg?id=52113552&width=1200&height=800&coordinates=0%2C0%2C320%2C0"/><br/><br/><p>In the world of persuasion, from speeches to advertisements, credibility is key. How can you get your message across to the clients or general public, and how can you get them to believe you? </p><p>The answer lies somewhere in the <a data-linked-post="2661196342" href="https://nofilmschool.com/Ethos-pathos-logos" target="_blank">mode of persuasion</a> called Ethos. </p><p>Ethos, a fundamental concept of rhetoric, is the art of establishing trustworthiness and authority. Whether through showcasing expertise, highlighting values, or leveraging reputation, ethos convinces an audience that the speaker or brand is worth listening to.</p><p>We're going to dig into why this is important right now. </p><p>Let's dive in. </p><hr/><h3>Ethos Definition</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ff93a47d25ea4456162b3c450af1fb9c" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/keOaQm6RpBg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Ethos is the use of the philosophical definition of ethics to make a moral argument. It refers to stated credibility or an authoritative stance on a subject. It is also one of Aristotle's modes of persuasion. </p><p>You could use the words of an instructor, doctor, expert, or philosopher. The point is, ethos is achieved by citing someone knowledgable and producing facts. So come prepared to make your audience feel smarter for listening to you. Give them numbers and citations that make you seem trustworthy. 4 out of 5 readers love this definition.</p><p>Advertisers employ ethos to convince the audience that their brand, product, or service is reliable, coming from experts, and worthy of consideration.</p><h3>Aristotle and Advertising</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ecdfc696e7cffdadb5b454bd08f9b84f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3klMM9BkW5o?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Most of the storytelling we deal with harkens back to <a href="https://www.sparknotes.com/philosophy/aristotle/section11/" target="_blank">Aristotle's "Poetics."</a> It was the building block for drama and became a must-read for anyone interested in crafting their own plays, movies, televisions shows, and now advertisements.</p><p>As advertising leans more and more on storytelling, "Poetics" has become even more important today.</p><p>In "Poetics," Aristotle said:</p><p><em>Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character of the speaker; the second on putting the audience into a certain frame of mind; the third on the proof, or apparent proof, provided by the words of the speech itself.</em></p><p>But what were the three modes of persuasion Aristotle found?</p><h4>The Three Modes of Persuasion</h4><ul><li>Ethos (ἦθος—disposition or character)</li><li>Pathos (πάθος—emotion or passion)</li><li>Logos (λόγος—argument or discourse)</li></ul><p>These modes are referred to as ethical strategies or rhetorical appeals.</p><p>They're based on the idea that persuasion is achieved by the speaker's personal character. By the speaker, I mean the author of the advertisement. You want to seem credible as an author. Whether that's the writer, director, or anyone working in that space.</p><p>Your persuasive ideas must stir something in the reader. An emotional reaction</p><p>This cannot just be through your written or spoken words. You have to exhibit an inherent or apparent truth. That way, you appear to have all the answers to the question you asked the reader.</p><p>All this manifests itself in each of the aforementioned modes.</p><h3>What Makes Ethos Important to Advertisers? </h3><br/><p>Ethos builds a sense of trust with the audience, making them more likely to listen to and believe the advertising message.It also enhances the believability of the claims made about the product or service.</p><p>When you're selling something, you're also trying to connect to the people listening. Ethos helps the audience identify with the brand on a personal level if they admire or relate to the figure used.</p><p>The more they identify with it, the more this can lead to customers becoming loyal to a brand over time.</p><h3>Ethos Examples in Advertising</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="e5c86200881aa888f3297807f830cfbe" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/n-f8udP21Jg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><span></span><p>Any celebrity endorsement is the work of ethos.I like to focus on the Michael Jordan commercials here. Specifically, the one where he and Mia Hamm face off. This black and white commercial asserts them both as athletes at the top of their game. </p><p>They have command in their sport, and any other sport you can think about.The dueling here allows them both to endorse the one thing they agree on; Gatorade. </p><h3>Other uses of ethos:<br/></h3><span></span><li><strong>Celebrity Endorsements:</strong> Linking a product to a well-respected or popular figure known for certain qualities (athletes for sports gear, doctors for health products). This implies the endorsement is based on the celebrity's knowledge or experience.</li> <li><strong>Experts and Professionals:</strong> Featuring doctors, scientists, or specialists in their fields lends their expertise to the claims about a product.</li> <li><strong>Testimonials:</strong> Real people sharing positive experiences with a product builds a sense of trustworthiness and social proof.</li> <li><strong>Company Reputation:</strong> Highlighting a company's commitment to ethics, social responsibility, or a history of excellent products builds trust.</li> <li><strong>Plain Folks Appeal:</strong> Using relatable people and settings to show that the brand understands the everyday consumer.</li><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Fri, 03 May 2024 18:03:03 +0000</pubDate><guid>https://nofilmschool.com/what-is-ethos</guid><category>Ethos definition</category><category>Ethos pathos logos</category><category>Ethos examples</category><category>Advertising</category><category>Commercials</category><category>Ethos</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-is-ethos-in-advertising.jpg?id=52113552&amp;width=980"></media:content></item><item><title>Do You Know the Core Elements of Romantic Comedy Genre in Film and TV? </title><link>https://nofilmschool.com/romantic-comedy-definition</link><description><![CDATA[
19. <img src="https://nofilmschool.com/media-library/romantic-comedy-genre.jpg?id=34049392&width=1200&height=800&coordinates=0%2C0%2C0%2C134"/><br/><br/><p>
20. Romantic <a href="/comedy-genre-examples-film-and-tv">comedies</a> have been a beloved genre in both film and television for decades. With their blend of humor, romance, and heartwarming moments, these movies and TV shows have captivated audiences of all ages and backgrounds.
21. </p><p>
22. From classic romantic comedies of the past to more recent hits, this <a href="/TV-and-film-genres">genre</a> has continued to evolve and capture the hearts of viewers around the world.
23. </p><p>
24. In this post, we'll explore the core elements of romantic comedies and examine some of the most popular and enduring films and TV shows in this genre. So whether you're a die-hard romantic or just looking for some lighthearted entertainment, join us as we dive into the world of romantic comedy movies and TV shows.
25. </p><p>
26. Let's go.
27. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="What Are the Core Elements of Romantic Comedy Genre in Film and TV?" class="rm-shortcode" data-rm-shortcode-id="3d7cc645a16513c0d6598d290ae4eef2" data-rm-shortcode-name="rebelmouse-image" id="37d34" loading="lazy" src="https://nofilmschool.com/media-library/what-are-the-core-elements-of-romantic-comedy-genre-in-film-and-tv.jpg?id=34049393&width=980"/>
28. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Pillow Talk'</small>
29. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Universal Pictures</small></p><h2>
30. What Are the Three Necessary Elements for Romantic Comedies?
31. </h2><p>
32. We all think we know the strictest definition of a romantic comedy in our hearts, but have you ever tried to put it into words?
33. </p><h3>
34. Romantic Comedy Definition for Film and TV
35. </h3><p>
36. Romantic comedy is a subgenre of comedy. It's focused on humorous plotlines centered on romantic ideas, such as dating, marriage, break-ups, and true love. These movies usually contain happy endings.
37. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="What Are the Core Elements of Romantic Comedy Genre in Film and TV?" class="rm-shortcode" data-rm-shortcode-id="659e7152d82aa8a82d6f3281ff3861d6" data-rm-shortcode-name="rebelmouse-image" id="0c862" loading="lazy" src="https://nofilmschool.com/media-library/what-are-the-core-elements-of-romantic-comedy-genre-in-film-and-tv.jpg?id=34049394&width=980"/>
38. <small class="image-media media-caption" placeholder="Add Photo Caption...">'When Harry Met Sally'</small>
39. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Columbia Pictures</small></p><h3>
40. Romantic Comedy Tropes
41. </h3><p>
42. There are so many <a href="/tv-and-movie-trope-examples">tropes</a> we expect to see when watching romantic comedies. One of the most prevalent is <a href="/meet-cute-definitions-examples">the meet-cute</a>, which is a quirky way the couple in the movie winds up meeting and getting to know one another. This is in every single movie. But the rest of the tropes you see can be changed and tweaked based on the plot of the movie at hand, as well as other story details.
43. </p><p>
44. A brief list of romantic comedy tropes:
45. </p><ol><li>
46. <strong>Opposites attract: </strong>A couple from very different worlds or with very different personalities falls in love.
47.  
48. </li><li>
49. <strong>Misunderstandings:</strong> A lack of communication or mistaken assumptions create conflict that threatens the couple's relationship.
50.  
51. </li><li>
52. <strong>Meet-cute:</strong> A chance encounter between the two main characters leads to an unexpected spark.
53.  
54. </li><li>
55. <strong>Love triangle:</strong> A third party comes between the couple, causing jealousy and complications.
56.  
57. </li><li>
58. <strong>Grand romantic gestures:</strong> One or both characters make big, extravagant displays of love to win the other's heart.
59.  
60. </li><li>
61. <strong>Fish out of water:</strong> One character is thrust into an unfamiliar environment or situation and must navigate it with the help of the other character.
62.  
63. </li><li>
64. <strong>False identities:</strong> One or both characters conceal their true identity, leading to complications and misunderstandings.
65.  
66. </li><li>
67. <strong>A second chance at love: </strong>A couple reunites after a breakup, giving their relationship a second chance.
68.  
69. </li><li>
70. <strong>Bickering couple:</strong> A couple who frequently argue and bicker with each other ultimately fall in love.
71.  
72. </li><li>
73. <strong>Overcoming obstacles: </strong>The couple faces various obstacles or challenges that they must overcome to be together.
74.  
75. </li></ol><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="20d0b9f3718776d79b73c6af1b679866" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/0p6wQnWUJJA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 class="edTag">
76. What Makes a Rom-Com?
77. </h3><p>
78. When I read the excellent NPR article, it mentioned a book by Scott Meslow called <a href="https://smile.amazon.com/Hollywood-Love-Again-Romantic-Comedy/dp/0063026295/ref=sr_1_1?crid=2ZM53R4751HSB&keywords=From+Hollywood+with+Love%3A+The+Rise+and+Fall+%28and+Rise+Again%29+of+the+Romantic+Comedy&qid=1644876017&sprefix=from+hollywood+with+love+the+rise+and+fall+and+rise+again+of+the+romantic+comedy%2Caps%2C754&sr=8-1" target="_blank"><em>From Hollywood with Love: The Rise and Fall (and Rise Again) of the Romantic Comedy</em></a><em>.</em>
79. </p><p>
80. In the book, Meslow analyzes these movies and tries to figure out what defines them. He came up with a simple test that he says anyone can try. This test helped him define what makes a romantic comedy.
81. </p><h3>
82. The Three Requirements to Be a Romantic Comedy
83. </h3><p>
84. To be a rom-com, you have to be able to answer three questions about the movie.
85. </p><ol class="edTag"><li>Is the plot centered around a love story?</li><li>Does it make you laugh more than it makes you cry?</li><li>If you pull the love story out of the movie, is there still a movie, or does the whole thing collapse?</li></ol><p>
86. "There's a reason it goes all the way back to Shakespeare," Meslow wrote. "There is something just fundamentally pleasing and satisfying about the arc of love. It's a story that many, many people can relate to in one way or another. It's enjoyable to watch people spar and banter and fight about what they really want. And when they come together, I mean, that's as satisfying as it gets."
87. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="ff46524dd7a571e7c822eeffa9a52a64" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/S8Uv0SE9u_k?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
88. Romantic Comedy Movie Examples
89. </h2><p>
90. As we talked about earlier, there are so many romantic comedies out there, it can be hard to pick a few examples.
91. </p><p>
92. Some of my favorites are <em><a href="/When-Harry-Met-Sally-Script-PDF-Download">When Harry Met Sally</a>, Pretty Woman, Four Weddings and a Funeral, Waiting to Exhale, My Best Friend's Wedding, Bridget Jones's Diary, My Big Fat Greek Wedding, <a href="/love-actiually-script-pdf-downlaod">Love Actually</a>, How to Lose a Guy in Ten Days—</em>and that's just me pulling some random titles.
93. </p><p>
94. I also love <em>Serendipity</em>, <em>The 40-Year-Old-Virgin</em>, and <em>Arsenic and Old Lace. </em>
95. </p><p>
96. These kinds of movies really kept Hollywood busy. And now, they've become fodder for streamers who see an easy formula to make them. You just need to cast a couple with chemistry, pick a fun location, and get a script.
97. </p><p>
98. There's a huge built-in audience who jump at the chance to watch these films. So while studios look toward more tentpole films, romantic comedies have overtaken streamers.  
99. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="What Makes a Good Romantic Comedy Film?" class="rm-shortcode" data-rm-shortcode-id="f5204b819ece4d305a394592ea6099cc" data-rm-shortcode-name="rebelmouse-image" id="e976b" loading="lazy" src="https://nofilmschool.com/media-library/what-makes-a-good-romantic-comedy-film.jpg?id=34049395&width=980"/>
100. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Wedding Crashers'</small>
101. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Bros. Pictures</small></p><h2>
102. What Are the Core Elements of Romantic Comedies?
103. </h2><div class="w-full border-b border-black/10 dark:border-gray-900/50 text-gray-800 dark:text-gray-100 group bg-gray-50 dark:bg-[#444654]">
104. <div class="text-base gap-4 md:gap-6 m-auto md:max-w-2xl lg:max-w-2xl xl:max-w-3xl p-4 md:py-6 flex lg:px-0">
105. <div class="relative flex w-[calc(100%-50px)] flex-col gap-1 md:gap-3 lg:w-[calc(100%-115px)]">
106. <div class="flex flex-grow flex-col gap-3">
107. <div class="min-h-[20px] flex flex-col items-start gap-4 whitespace-pre-wrap">
108. <div class="markdown prose w-full break-words dark:prose-invert dark">
109. <p>
110. Some core elements of romantic comedies in film and TV include a focus on a romantic relationship, often between two people who initially dislike each other, humorous situations and dialogue, obstacles to the couple's relationship that are eventually overcome, and a happy ending. Other common elements may include exaggerated character traits, misunderstandings, and dramatic gestures or declarations of love.
111. </p>
112. </div>
113. </div>
114. </div>
115. </div>
116. </div>
117. </div><h2>
118. What Makes a Good Romantic Comedy Film?
119. </h2><p>
120. Before we break down our takeaways from our favorite rom-coms, we need to establish what makes a great rom-com film.
121. </p><p>
122. When you think of these genre films, what do you think makes them great? Is it the characters? The romantically unrealistic dialogue? Or the big confession at the end of the film?
123. </p><div class="flex flex-grow flex-col gap-3">
124. <div class="min-h-[20px] flex flex-col items-start gap-4 whitespace-pre-wrap">
125. <div class="markdown prose w-full break-words dark:prose-invert light">
126. <p>
127. A good romantic comedy film often has a combination of several elements, including:
128. </p>
129. <ol><li>
130.  
131. Strong, likable characters that the audience can relate to and root for.
132.  
133. </li><li>
134.  
135. A compelling, original concept or storyline that captures the audience's attention and keeps them engaged.
136.  
137. </li><li>
138.  
139. A balance of humor and heart, with well-crafted comedic moments that offset the emotional weight of the story.
140.  
141. </li><li>
142.  
143. A strong emotional core that allows the audience to connect with the characters and become emotionally invested in their story.
144.  
145. </li><li>
146.  
147. A unique visual style and creative use of cinematic techniques that enhance the storytelling.
148.  
149. </li><li>
150.  
151. Memorable, quotable dialogue and well-crafted scenes that leave a lasting impact on the audience.
152.  
153. </li><li>
154.  
155. A sense of authenticity and honesty that allows the audience to relate to the characters and their experiences.
156.  
157. </li><li>
158.  
159. A satisfying conclusion that ties up loose ends and leaves the audience feeling fulfilled.
160.  
161. </li></ol><p>
162. You don't have to end with a "happy ending," but you should leave your audience feeling satisfied that this is where the story naturally ends for our main character.
163. </p>
164. <p>
165. Overall, a good romantic comedy film should be engaging, entertaining, and emotionally resonant, with characters and a storyline that viewers can connect with on a personal level.
166. </p>
167. <p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Summing up the Romantic Comedy Genre " class="rm-shortcode" data-rm-shortcode-id="d54e632ce520abf661a45f12aae9c8e6" data-rm-shortcode-name="rebelmouse-image" id="23390" loading="lazy" src="https://nofilmschool.com/media-library/summing-up-the-romantic-comedy-genre.jpg?id=34049396&width=980"/>
168. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Punch Drunk Love'</small>
169. </p>
170. </div>
171. </div>
172. </div><h2>
173. Summing up the Romantic Comedy Genre
174. </h2><p>
175. In conclusion, romantic comedies have long been a staple of both the film and television industries and for good reason. With their winning blend of humor, romance, and heart, these stories continue to captivate and entertain audiences around the world.
176. </p><p>
177. From classic films of the past to modern hits, the genre has something to offer to fans of all ages and tastes. Whether you're looking to laugh, cry, or simply escape into a world of love and happiness, romantic comedies are sure to satisfy you.
178. </p><p>
179. So next time you're in the mood for some feel-good entertainment, remember to turn to the timeless charm of a romantic comedy movie or TV show.
180. </p><p>
181. Let me know your thoughts in the comments.
182. </p>]]></description><pubDate>Fri, 03 May 2024 18:00:00 +0000</pubDate><guid>https://nofilmschool.com/romantic-comedy-definition</guid><category>Comedy</category><category>Romance</category><category>Genre</category><category>Tropes</category><category>Screenwriting tips</category><category>Romantic comedy genre</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/romantic-comedy-genre.jpg?id=34049392&amp;width=980"></media:content></item><item><title>3 Essential Tips to Make Your Short Films Better</title><link>https://nofilmschool.com/short-film-writing-tips</link><description><![CDATA[
183. <img src="https://nofilmschool.com/media-library/3-essential-tips-to-make-your-short-films-better.jpg?id=34064225&width=1200&height=800&coordinates=112%2C0%2C113%2C0"/><br/><br/><p>
184. Short films can be a great calling card within the industry. They're easy to pass around and can be even easier to make yourself.
185. </p><p>
186. So how can you get your short films to work for you?
187. </p><p>
188. And what if you don't have any ideas to even start writing?
189. </p><p>
190. Don't worry, we have your back. <a href="https://www.youtube.com/watch?v=pqy6KSLbjcM" target="_blank">Premium Beat</a> just released this video of three tips to help jumpstart your short film.
191. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="64b47ede97656e01fd5e5fa374b2e244" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/pqy6KSLbjcM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
192. 3 Ways That Can Help You Make a Great Short Film
193. </h2><h3>
194. 1. Use the "100 Ideas Method"
195. </h3><p>
196. When brainstorming, you can run into writer's block or just be frustrated with what you put on paper. One of the best ways to just get into the zone is using a technique that Judd Apatow coined -- The "<a href="https://www.premiumbeat.com/blog/tips-for-improving-short-film/" target="_blank">100 Ideas Method</a>."
197. </p><p>
198. The <em>Knocked Up </em>director writes down 100 ideas. They can be as long as a <a href="/film-treatment">treatment</a> or as loose as a <a href="/how-to-write-a-logline">logline</a>.
199. </p><p>
200. The important part is that no idea is too nuts. Or out of bounds. Or "bad." Take any swing. Put ludicrous things down. You want a toaster that goes on an adventure? Feelings that have feelings? What about a park full of dinosaurs or a hitman who gets revenge for his dog?
201. </p><p>
202. All ideas are safe and no judgment.
203. </p><p>
204. The important part is that you get to 100.
205. </p><p>
206. Once you have 100 ideas down, you can refine it from there. How so?
207. </p><p>
208. Take your time and pick the 20 best. Flesh them out a bit more. Then, go to the next tip.
209. </p><h3>
210. 2. Write Stories the Way the <em>South Park</em> Guys Do
211. </h3><p>
212. When <em>South Park </em>creators Trey Parker and Matt Stone are outlining their ideas, they have a specific way they tackle getting their beats in a row. Instead of saying "This happens, then this happens..." They say "This happens, <em>therefore</em> this happens, <em>but</em> this changes things..."
213. </p><p>
214. This helps enhance escalation and conflict in your story.
215. </p><p>
216. Instead of the "and" principles -- which separate <a href="/beat-sheet-template">story beats</a> -- going at it from "therefore" makes everything happen for a reason.
217. </p><p>
218. When you're writing, you want the audience to feel like everything is planned and linked. It can also help your process.
219. </p><p>
220. So try to hook the beats together and see what happens. And if that doesn't work...
221. </p><h3>
222. 3. Start at the End
223. </h3><p>
224. There are no rules about how you write and in what order.
225. </p><p>
226. If you don't have a beginning, start writing the ending
227. </p><p>
228. Write out of order and work backward if you have to. If you know where it all ended up, do that scene, the scene before it, and suddenly you'll be back at the beginning.
229. </p><p>
230. This gives you a lot of room to be creative. You can work back and subvert tropes, change character intros, and even plant things you know pay off at the end.
231. </p><p>
232. Work in any way possible. Just work.
233. </p><h2>
234. What's next? <a href="/Best-Short-Films-of-All-Time-on-YouTube">Watch the 50+ Best Short Films of All Time</a>!
235. </h2><p>
236. The best short films of all time were hard to find in days past. But now, with YouTube, they're only just a click away!
237. </p><p>
238. Get watching...
239. </p>]]></description><pubDate>Fri, 03 May 2024 17:37:35 +0000</pubDate><guid>https://nofilmschool.com/short-film-writing-tips</guid><category>Short film writing</category><category>Screenwriting advice</category><category>Screenwriting tips</category><category>Short film</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/3-essential-tips-to-make-your-short-films-better.jpg?id=34064225&amp;width=980"></media:content></item><item><title>The Definitive Guide to Creating a Film and TV Mood Board</title><link>https://nofilmschool.com/film-mood-board</link><description><![CDATA[
240. <img src="https://nofilmschool.com/media-library/the-definitive-guide-to-creating-a-film-and-tv-mood-board.jpg?id=34333757&width=1200&height=800&coordinates=62%2C0%2C0%2C0"/><br/><br/><p> Tell me if this has happened to you: you're trying to pitch on a commercial or film, and you're having trouble communicating with the producers about the look and the feel of the project. Maybe the most important part of the pitch process is communicating how the audience should react. </p><p> If you want to make sure everyone is on the same page, you might need to create <a href="https://nofilmschool.com/mood-board-resource" rel="noopener noreferrer" target="_blank">a mood board</a>. </p><p> Creating a director's mood board is <a href="https://nofilmschool.com/director-checklist" rel="noopener noreferrer" target="_blank">an essential step in pre-production</a> for any film or television project. It serves as a visual blueprint, expressing the intended aesthetics, tone, and mood of the upcoming production.  </p><p> So let's go through how to make one together. This comprehensive guide will walk you through the process of creating an effective director's mood board, providing a solid foundation for your creative vision. </p><hr/><h3></h3><br/><span class="rm-shortcode" data-rm-shortcode-id="cd88c1a2cec73ac4cc245df4ec929663" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/p03cRSbIQFU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3>Creating a Director's Mood Board for Film and TV </h3><br/><p>Creating a director's mood board is an essential step in the pre-production phase of film and TV projects. A mood board helps directors visually communicate their creative vision to the production team, including the cinematographer, production designer, costume designer, and other key collaborators.</p><h3>Understanding the Importance of a Mood Board </h3><br/><p> A mood board, sometimes referred to as an inspiration board, is a collage of visual elements such as images, color palettes, and videos. It's a creative tool that encapsulates the envisioned look and feel of a film or TV show. </p> <h3> The Mood Board Is A Visual Communication Tool </h3> <p> A mood board is a potent communication tool. It provides a tangible representation of abstract ideas, making it easier to share your vision with your team, including designers, cinematographers, and actors. </p><p> By offering a shared visual reference, mood boards facilitate collaboration. They allow everyone involved in the project to contribute ideas and suggestions, refining the overall vision. </p><p> From costumes and set designs to lighting to shot composition, a mood board guides various aspects of the production process. It ensures consistency in aesthetic decisions, contributing to a cohesive final product. </p><h3>What Are the Key Components of a Mood Board? </h3><br/><p> I find it pretty flattering when directors make mood boards for screenplays I've written. It helps me understand their vision and make sure we are all on the same page. </p><p> There are some essential components that help get this message across. When crafting a mood board, consider including the following elements: </p><h3> Characters </h3> <p> Include visual references that capture the essence of your characters. This could include photographs, sketches, or even color palettes that reflect their personality or emotional state. </p><p> Who's in this project? Who do you think should play them? </p> <h3> Locations and Set Design </h3> <p> Visuals representing the desired locations and set designs can help your art department understand your vision. Include images that reflect the architectural style, period, or mood of the locations in your script. </p><p> Where are we shooting this project? What are the benefits of the places we want to shoot? Are there rebates or a POV that changes? </p><h3> Wardrobe and Props </h3> <p> Visual references for costumes and props can help your wardrobe and props departments align their work with your vision. These could range from historical clothing to futuristic gadgetry, depending on your project. </p><p> Do you have people you've worked with in the past? Are there specific items that need to be built or created for this project? </p><h3> Cinematography </h3> <p> Showcase your desired cinematography style through images that highlight specific lighting setups, shot compositions, or color-grading styles. Color can significantly influence the mood of a scene. Include a color palette that reflects the tone you want to achieve, from warm and vibrant to cool and muted. </p> Who do you think would be good for this project, and what are the visuals you want to make sure pop?<h3>The Process of Creating a Mood Board </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="df340ad62a5a3c16980b5adb531623c0" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qSYmcSLqWE8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p> Creating a mood board involves gathering, organizing, and refining visual materials. </p><p> Here's a stepwise approach: Start by determining what you want your mood board to communicate. You might focus on a specific aspect like lighting, costumes, or set design, or create a comprehensive board that encapsulates all these elements. </p> <h3> Gather Visual Materials </h3> <p> Collect visual materials that align with your vision. This could include photographs, illustrations, film stills, color swatches, or even textures and patterns. Remember that these materials are for reference and inspiration, not necessarily to be replicated exactly. </p><p> This goes hand in hand with a <a href="https://nofilmschool.com/how-to-make-a-lookbook" rel="noopener noreferrer" target="_blank">lookbook</a>. </p> <h3> Organize the Elements </h3> <p> Once you have your materials, start organizing them. This step involves arranging the elements to create a visually pleasing and coherent composition. This process is not linear, and you may find yourself moving back and forth between steps as you refine your board. </p><p> As you refine your mood board, be open to inspiration and changes. The creative process is fluid, and your mood board should reflect this. </p><p> Once the board aligns with your vision, finalize it and share it with your team. </p><h3>Tools and Techniques for Creating Mood Boards </h3><br/><p> While physical mood boards made of printouts and magazine cutouts have their charm, digital tools offer more flexibility and convenience. </p><p> Online platforms like Pinterest and Canva allow you to create mood boards by simply dragging and dropping images. They also offer collaboration features, making it easy to share your boards with your team. </p><p> Design software like <a href="http://clk.tradedoubler.com/click?p(264355)a(3017396)g(22804962)url(https://www.adobe.com/creativecloud/plans.html)" rel="noopener noreferrer" target="_blank" title="Adobe Photoshop">Adobe Photoshop</a> or Illustrator provides more advanced editing features. These tools are ideal if you need to manipulate images or create complex compositions. </p><p> Mobile apps like Milanote allow you to create and update your mood board on the go. This is ideal for capturing inspiration whenever it strikes, whether you're on a location scout or simply out and about. </p><p><a href="https://milanote.com/templates/filmmaking/filmmaking-moodboard" rel="noopener noreferrer" target="_blank">There's a mood board template here. </a></p><h3>Example of Mood Boards</h3><br/><img alt="Multiple photos in shades of red" class="rm-shortcode" data-rm-shortcode-id="a761fbeb92f1f350e5c98eaabcb4e628" data-rm-shortcode-name="rebelmouse-image" id="3dc8d" loading="lazy" src="https://nofilmschool.com/media-library/multiple-photos-in-shades-of-red.jpg?id=34333780&width=980"/><p>Not only directors make mood boards. Annie Seibel is an art director who designed many of the sets for <em>Midnight in Paris</em>. She used mood boards to help communicate the look and feel of each set. Especially when they travel through time. </p><h3>Summing Up The Definitive Guide to Creating a Director's Mood Board for Film and TV </h3><br/><p>A mood board is a powerful tool for visualizing and communicating your creative vision. By gathering and organizing visual references, you can create a tangible guide that informs every aspect of your film or TV project, from pre-production to post-production. </p><p>Whether you're pitching to investors, collaborating with your team, or refining your creative vision, a mood board is an invaluable asset in the filmmaking process.</p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Fri, 03 May 2024 17:34:48 +0000</pubDate><guid>https://nofilmschool.com/film-mood-board</guid><category>Creative community</category><category>Directing</category><category>Indie filmmaking</category><category>Moodboard</category><category>Storytelling advice</category><category>Visual storytelling</category><category>Mood board</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-definitive-guide-to-creating-a-film-and-tv-mood-board.jpg?id=34333757&amp;width=980"></media:content></item><item><title>Here Are 1000+ Free Post Production Assets You Can Download Right Now</title><link>https://nofilmschool.com/free-film-assets</link><description><![CDATA[
241. <img src="https://nofilmschool.com/media-library/free-post-production-assets.jpg?id=34061961&width=1200&height=800&coordinates=100%2C0%2C100%2C0"/><br/><br/><p dir="ltr" id="Filmmakers+Free+Mega+List" name="Filmmakers+Free+Mega+List">
242. Forking over a bunch of money for great film assets is a non-starter for most of us. That’s why we have created a free asset mega list for filmmakers, complete with everything from free transitions to free light leaks... and much, much more. Hopefully, this post will help you find the free digital tools you need to make your films and videos better.
243. </p><p dir="ltr" id="Filmmakers+Free+Mega+List" name="Filmmakers+Free+Mega+List">
244. So, bookmark this page and let's get started.</p><hr id="hr-toc" name="tableOfContents"/><h1 dir="ltr" id="Free+Transitions" name="Free+Transitions">
245. Free Transitions
246. </h1><p dir="ltr">
247. Transitions help break up the monotony of hard cuts and commonplace fades, which is why we wanted to give you plenty of options to choose from. Here are hundreds of free transitions you can download for free today.
248. </p><h2 dir="ltr">
249. <a href="https://filmmakersmanual.com/free-glitch-transition-pack" target="_blank">230 Free Premiere Pro Glitch Transitions by Filmmakers Manual</a>
250. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="708e35da33e99bc53080ab89a86aa3a9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Bgnckx05zJY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
251. This is one of the largest collection of free glitch transitions for Premiere Pro on the internet. This pack from <a href="https://www.filmmakersmanual.com" target="_blank">Filmmakers Manual</a> is also complete with 30 free glitch sound effects. Download it today.
252. </p><p dir="ltr">
253. <a class="nfs-button nfs-button--green" href="https://filmmakersmanual.com/free-glitch-transition-pack" target="_blank">Download Now</a>
254. </p><h2 dir="ltr">
255. <a href="https://www.toneden.io/pixel-samy-1/post/smooth-transitions-premiere-pro-2" target="_blank">Free Smooth Premiere Pro Transitions by Pixel Samy</a>
256. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c1f70a20e128592678aa7806b18c4a2a" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8AdUyP5dQmg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
257. Here are some great free transitions you can use in Premiere Pro today. These smooth transitions are beautiful and seamless. A must-have if you want to save a bunch of time in Premiere Pro.
258. </p><p>
259. <a class="nfs-button nfs-button--green" href="https://www.toneden.io/pixel-samy-1/post/smooth-transitions-premiere-pro-2" target="_blank">Download Now</a>
260. </p><h2>
261. <a href="https://motionarray.com/premiere-pro-presets/5-swish-transitions-12010" target="_blank">5 Free Swish Transitions by Motion Array</a>
262. </h2><p>
263. Need a quick and unique transition? Look no further. These cool swish transitions will help you make a video that is both dynamic and eye-catching. The 5 presets can be used on pictures or videos, but project files are also available in case you just want to dive in.
264. </p><p>
265. <a class="nfs-button nfs-button--green" href="https://motionarray.com/premiere-pro-presets/5-swish-transitions-12010" target="_blank">Download Now</a>
266. </p><h2>
267. <a href="https://bjkproduction.com/index.php/2018/02/23/adobe-premiere-pro-preset/" target="_blank">Rolling Light Leak Transition by BJK Productions</a>
268. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="22a25ccf6fe956935b580f1cde79f186" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fZJH78wEg3k?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
269. BJK Productions is always putting out great free stuff. These light leaks are no exception. Download these easy to use light leak transitions for Premiere Pro.
270. </p><p dir="ltr">
271. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/02/23/adobe-premiere-pro-preset/" target="_blank">Download Now</a>
272. </p><h2>
273. <a href="https://bjkproduction.com/index.php/2018/03/01/trippy-transition/" target="_blank">Insane Trippy Transition Preset by BJK Productions</a>
274. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="245be141c2ffa4a5f47fe81fff3bb7e9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/54lfCKbruak?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
275. Yet another awesome transition by <a href="https://bjkproduction.com/" target="_blank">BJK Productions</a>. This transition looks like it should be in a trippy hip-hop music video. But with a little creativity, you can use this on almost anything. Check it out.
276. </p><p dir="ltr">
277. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/03/01/trippy-transition/" target="_blank">Download Now</a>
278. </p><h2 dir="ltr">
279. <a href="https://bjkproduction.com/index.php/2018/02/14/epic-tremble-transition-preset-premiere-pro-cc-2018/" target="_blank">Epic Tremble Transition Preset by BJK Productions</a>
280. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c8ecc79d5d411c6790d45c3651a868b9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/YV4_XLkZcVY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
281. Yes… BJK Productions has yet another awesome transition that you can download for free. We have a feeling we are going to see a lot more free stuff from them.
282. </p><p dir="ltr">
283. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/02/14/epic-tremble-transition-preset-premiere-pro-cc-2018/" target="_blank">Download Now</a>
284. </p><h2 dir="ltr">
285. <a href="https://bjkproduction.com/index.php/2018/06/24/tvglitchtransitions/" target="_blank">TV Glitch Transition Preset by BJK Productions</a>
286. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="6be09ad8636c502c9c2120f5d1217d8f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Bmk38IWJDTE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
287. You can never have enough glitch transitions in your arsenal. BJK Productions created a really amazing glitch transition you can use right now. It’s as easy as dragging and dropping onto your clip. I would highly recommend downloading this.
288. </p><p dir="ltr">
289. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/06/24/tvglitchtransitions/" target="_blank">Download Now</a>
290. </p><h2 dir="ltr">
291. <a href="https://bjkproduction.com/index.php/2018/04/22/musicvideotransitionpreset-blogging/" target="_blank">Music Video Transition Preset by BJK Productions</a>
292. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="038c84e8d929dd7e0a35ec8483cad8ea" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rFpBjsgA3pA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
293. This music video transition is a must-have. This preset by BJK Productions can be used on much more than just music videos. Just use your imagination.
294. </p><p dir="ltr">
295. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/04/22/musicvideotransitionpreset-blogging/" target="_blank">Download Now</a>
296. </p><h2 dir="ltr">
297. <a href="https://bjkproduction.com/index.php/2018/06/09/2freetransitions/" target="_blank">2 Transition Preset Pack by BJK Productions</a>
298. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="f010aa5694a4c5c868d5a885be14aedc" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PdiL_VAWblg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
299. Two amazing transitions for free. All you have to do is like their page and you got it!
300. </p><p dir="ltr">
301. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/06/09/2freetransitions/" target="_blank">Download Now</a>
302. </p><h2 dir="ltr">
303. <a href="https://bjkproduction.com/index.php/2018/03/30/freetransitionspack-blogging/" target="_blank">5 Transition Presets by BJK Productions</a>
304. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="f127a7571b7f0b0084d0d8666de07424" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/zD0uvQc3bAQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
305. This is a pretty cool transitions pack. After testing these transitions, the possibilities are endless. Enjoy these 5 transitions by BJK Productions.
306. </p><p dir="ltr">
307. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/03/30/freetransitionspack-blogging/" target="_blank">Download Now</a>
308. </p><h2 dir="ltr">
309. <a href="https://sellfy.com/p/uwcG/" target="_blank">4 Travel Smooth Transition Pack by Austin Newman</a>
310. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="7f67f7aed9cb44f9b405891d8e8d282a" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EX-TcTBB4hI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
311. This transition pack is a Premiere Pro preset by Austin Newman. It’s a pretty amazing transition pack and definitely worth the download.
312. </p><p dir="ltr">
313. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/uwcG/" target="_blank">Download Now</a>
314. </p><h2 dir="ltr">
315. <a href="https://sellfy.com/p/DXuM/" target="_blank">Smooth Transition Pack by Orange83</a>
316. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="cee505b9090b67b4bc6b367fb724ca2d" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qaEndem1kUg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
317. Need some good smooth transitions? Look no further, download these transitions for free today!
318. </p><p dir="ltr">
319. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/DXuM/" target="_blank">Download Now</a>
320. </p><h2 dir="ltr">
321. <a href="https://www.premiumbeat.com/blog/free-circle-transitions-for-video-editing/" target="_blank">16 Circle Transitions by PremiumBeat</a>
322. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="8fc5763294861bd293cd7292b640ad59" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/hL4eTPleB7w?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p dir="ltr">
323. This is an amazing transition pack by <a class="word-link" href="https://shutterstock.7eer.net/c/1223697/611444/1305" rel="nofollow" target="_blank" title="PremiumBeat">PremiumBeat</a>. They always put out great free stuff, but this is just amazing. Check it out today.
324. </p><p dir="ltr">
325. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/free-circle-transitions-for-video-editing/" target="_blank">Download Now</a>
326. </p><h1 dir="ltr" id="Free+Premiere+Pro+Presets" name="Free+Premiere+Pro+Presets">
327. Free Premiere Pro Presets
328. </h1><h2 dir="ltr">
329. <a href="https://sellfy.com/p/eLoJ/" target="_blank">Retro Preset Pack by Austin Newman</a>
330. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="3b42956306d21cb05826598297fa80fb" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/_zndmOG0m5Q?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
331. Enjoy this incredible preset pack by Austin Newman. These presets give your films a retro, VHS type of aesthetic. This filmmaker puts out so much amazing free content. This won’t be the last time you will see stuff by him in this post.
332. </p><p dir="ltr">
333. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/eLoJ/" target="_blank">Download Now</a>
334. </p><h2 dir="ltr">
335. <a href="https://sellfy.com/p/bBen/" target="_blank">Cinematic Preset Pack by Austin Newman</a>
336. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="2a63387ba6ebe170608d7c5da6edf1c1" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/6qolBVY6kv8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
337. Download these 4 versions of cinematic classic effects by Austin Newman.
338. </p><p dir="ltr">
339. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/bBen/" target="_blank">Download Now</a>
340. </p><h2 dir="ltr">
341. <a href="https://sellfy.com/p/VBY2/" target="_blank">RGB Ghosting Effect by Austin Newman</a>
342. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="1aabdd3c568073862b5f792b567f2866" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-9pBeBjCOh4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
343. Austin Newman is a master at creating vibes you can feel through his presets. Download this ghosting effect for free!
344. </p><p dir="ltr">
345. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/VBY2/" target="_blank">Download Now</a>
346. </p><h2 dir="ltr">
347. <a href="https://bjkproduction.com/index.php/2018/05/22/musicvideoeffects/" target="_blank">3 Music Video Effects by BJK Productions</a>
348. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="a1686ccbba6f49eb093c591b76fc9a90" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/TOrrTD9OZ10?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
349. Here is yet another amazing preset by BJK Productions.
350. </p><p dir="ltr">
351. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/05/22/musicvideoeffects/" target="_blank">Download Now</a>
352. </p><h2 dir="ltr">
353. <a href="https://bjkproduction.com/index.php/2018/06/05/videoeffects/" target="_blank">5 Glitch Effects by BJK Productions</a>
354. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="7271229119d73f58f9bec3c8989f4e00" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/AGgQUWQBiLg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
355. Here are 5 glitch effects that BJK Productions was nice enough to craft for us.
356. </p><p dir="ltr">
357. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/06/05/videoeffects/" target="_blank">Download Now</a>
358. </p><h2 dir="ltr">
359. <a href="https://bjkproduction.com/index.php/2018/04/11/camera-movements-blogging/" target="_blank">10 Cinematic Camera Movements by BJK Productions</a>
360. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="2d54d9fadfc1bed2fafe414be37966d7" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/cocTx_E4XvY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
361. Now this pack is amazing. It’s such a simple way to add more value to your films. BJK Productions have really stepped it up with this preset pack.
362. </p><p dir="ltr">
363. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/04/11/camera-movements-blogging/" target="_blank">Download Now</a>
364. </p><h2 dir="ltr">
365. <a href="https://bjkproduction.com/index.php/2018/05/12/colorgradingpresets/" target="_blank">10 Color Grading Presets - BJK Productions</a>
366. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="560e9e1f8a72590849ee79eb0fe914ba" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Rh4AuyAI4jM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
367. Check out these 10 color grading presets to give your film a new aesthetic.
368. </p><p dir="ltr">
369. <a class="nfs-button nfs-button--green" href="https://bjkproduction.com/index.php/2018/05/12/colorgradingpresets/" target="_blank">Download Now</a>
370. </p><h1 dir="ltr" id="Free+After+Effects+Plugins+and+Presets" name="Free+After+Effects+Plugins+and+Presets">
371. Free After Effects Plugins and Presets
372. </h1><h2 dir="ltr">
373. <a href="https://www.videocopilot.net/blog/2018/05/fx-console-updated-to-v1-0-3/" target="_blank">FX Console by Video Copilot </a>
374. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="31adc5a6dda4ee85d46eba4c4e30353c" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rqmDo04T0pY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p dir="ltr">
375. Video Copilot is always putting out great stuff and this <a class="word-link" href="https://clk.tradedoubler.com/click?p(264355)a(3017396)g(22804962)url(https://www.adobe.com/creativecloud/plans.html)" rel="nofollow" target="_blank" title="Adobe After Effects">After Effects</a> plugin is no different. It’s a great tool to help your iron out your workflow in <a class="word-link" href="https://clk.tradedoubler.com/click?p(264355)a(3017396)g(22804962)url(https://www.adobe.com/creativecloud/plans.html)" rel="nofollow" target="_blank" title="Adobe After Effects">After Effects</a>, saving you hours of time. Check out the video below.
376. </p><p dir="ltr">
377. <a class="nfs-button nfs-button--green" href="https://www.videocopilot.net/blog/2018/05/fx-console-updated-to-v1-0-3/" target="_blank">Download Now</a>
378. </p><h2 dir="ltr">
379. <a href="https://www.premiumbeat.com/blog/15-free-camera-shake-presets/" target="_blank">15 Free Camera Shake Presets for After Effects by PremiumBeat</a>
380. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="301157aa2ab66656b2b1cee96239def2" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/R8ETu-Jxt3M?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
381. <a class="word-link" href="https://shutterstock.7eer.net/c/1223697/611444/1305" rel="nofollow" target="_blank" title="PremiumBeat">PremiumBeat</a> is always offering cool free stuff. These camera shake presets are pretty amazing and will save you a bunch of time and money. They also work for Premiere Pro. Check it out!
382. </p><p dir="ltr">
383. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/15-free-camera-shake-presets/" target="_blank">Download Now</a>
384. </p><h2 dir="ltr">
385. <a href="https://motionfactory.io/download/" target="_blank">Motion Factory by PIXFLOW</a>
386. </h2><p>
387. This is, for sure, a mega pack. This plugin is actually 5 separate plugins all made for After Effects. It comes complete with glitch effects, flash animation, typography effects, HUDS, holograms, and particles. Download it today!
388. </p><p dir="ltr">
389. <a class="nfs-button nfs-button--green" href="https://motionfactory.io/download/" target="_blank">Download Now</a>
390. </p><h2 dir="ltr">
391. <a href="https://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/" target="_blank">SABER by Video Copilot</a>
392. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="0589f933fa881b89c74d40f3d61e974b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/reSXGxkyr0k?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
393. Yes. Yet another amazing Video Copilot plugin. This energy plugin allows you to Create Energy Beams, Lightsabers, Lasers, Portals, Neon Lights, Electric, Haze, and much more.
394. </p><p dir="ltr">
395. <a class="nfs-button nfs-button--green" href="https://www.videocopilot.net/blog/2016/03/new-plug-in-saber-now-available-100-free/" target="_blank">Download Now</a>
396. </p><h2 dir="ltr">
397. <a href="https://misterhorse.com/animation-composer" target="_blank">Animation Composer by Mister Horse</a>
398. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="329643c9136d75f04ce4f2ab6b5a51bd" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/HbLZuZkhDpM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
399. So besides this company having a crazy awesome mascot and name, it also offers a completely amazing plugin for After Effects that allows you to step up your motion graphics game. (It’s also great for titles.)
400. </p><p dir="ltr">
401. <a class="nfs-button nfs-button--green" href="https://misterhorse.com/animation-composer" target="_blank">Download Now</a>
402. </p><h1 dir="ltr" id="Free+After+Effects+Templates" name="Free+After+Effects+Templates">
403. Free After Effects Templates
404. </h1><h2 dir="ltr">
405. <a href="https://www.motionstacks.com/collections/free-after-effects-templates" target="_blank">Free After Effect Templates by Motion Stacks</a>
406. </h2><p>
407. This website offers so many free After Effects templates. The last we counted... 123 templates and growing. All for free. Download it today!
408. </p><p>
409. <a class="nfs-button nfs-button--green" href="https://www.motionstacks.com/collections/free-after-effects-templates" target="_blank">Download Now</a>
410. </p><h2 dir="ltr">
411. <a href="https://vashivisuals.com/vashimorphic40-free-anamorphic-effects-project/" target="_blank">VashiMorphic40 by Vashi Visuals</a>
412. </h2><p>
413. Want your films to have an anamorphic look? Then look no further, because Vashi Visuals has created a pretty awesome After Effects template.
414. </p><p>
415. <a class="nfs-button nfs-button--green" href="https://vashivisuals.com/vashimorphic40-free-anamorphic-effects-project/" target="_blank">Download Now</a>
416. </p><h2 dir="ltr">
417. <a href="https://www.rocketstock.com/free-after-effects-templates/digital-distortion/" target="_blank">Digital Distortion by Rocketstock</a>
418. </h2><p>
419. After trying this After Effects template, we were impressed with it. It comes stock with 9 different distortion effects. Check it out now.
420. </p><p>
421. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/digital-distortion/" target="_blank">Download Now</a>
422. </p><h2 dir="ltr">
423. <a href="https://www.videezy.com/after-effects-templates" target="_blank">Free After Effect Templates by Videezy</a>
424. </h2><p>
425. Videezy offers a ton of After Effects templates. When we say a TON, we mean it. The drawback, though, is that you will have to sift through a lot of content to find what you want. There are, however, a couple of diamonds in the rough.
426. </p><p dir="ltr">
427. <a class="nfs-button nfs-button--green" href="https://www.videezy.com/after-effects-templates" target="_blank">Download Now</a>
428. </p><h2 dir="ltr">
429. <a href="https://www.rocketstock.com/free-after-effects-templates/how-to-fake-a-vhs-look-in-after-effects/" target="_blank">Retro Distorted VHS Look by Rocketstock</a>
430. </h2><p>
431. If you need a VHS look for your film, then this is the download for you.
432. </p><p>
433. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/how-to-fake-a-vhs-look-in-after-effects/" target="_blank">Download Now</a>
434. </p><h1 dir="ltr" id="Free+LUTs" name="Free+LUTs">
435. Free LUTs
436. </h1><p dir="ltr">
437. First off… <a href="/tag/luts">what is a LUT</a>? A LUT, or lookup table, is a set of values that is universally stored and set for your color grading. Basically, a LUT transforms color input values (camera) to your desired output values (final footage). It’s important that your footage was properly exposed and color corrected or it won’t quite look right.
438. </p><p dir="ltr">
439. LUTs are a great way for you to add tone and an aesthetically pleasing vibe to your film or video. They are so easy to work with. Every filmmaker should have a collection of LUTs to use for your projects. Don’t worry. We did all of the back-breaking work of scouring the internet for you.
440. </p><h2 dir="ltr">
441. <a href="https://groundcontrolcolor.com/collections/free-color-grading-luts" target="_blank">13 Free LUTs by Ground Control</a>
442. </h2><p>
443. Ground Control has a whole page dedicated to free LUTs. You should go check it out.
444. </p><p>
445. <a class="nfs-button nfs-button--green" href="https://groundcontrolcolor.com/collections/free-color-grading-luts" target="_blank">Download Now</a>
446. </p><h2 dir="ltr">
447. <a href="https://smallhd.com/blogs/community/movie-looks-download" target="_blank">8 Free LUTs by Small HD</a>
448. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="f98509c9bb2dcb78ca6b37ca7e86f100" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/HKIoOigfrt4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
449. Here are 8 free LUTs inspired by some pretty famous movies, like <em>Saving Private Ryan</em>.
450. </p><p dir="ltr">
451. <a class="nfs-button nfs-button--green" href="https://smallhd.com/blogs/community/movie-looks-download" target="_blank">Download Now</a>
452. </p><h2 dir="ltr">
453. <a href="https://motionarray.com/blog/10-free-luts" target="_blank">10 Free LUTs by Motion Array</a>
454. </h2><p>
455. 10 Free LUTs by Motion Array. They’re pretty decent. Maybe they can work for your project.
456. </p><p>
457. <a class="nfs-button nfs-button--green" href="https://motionarray.com/blog/10-free-luts" target="_blank">Download Now</a>
458. </p><h2 dir="ltr">
459. <a href="https://motionarray.com/blog/10-free-action-movie-luts" target="_blank">10 Free Action LUTs by Motion Array</a>
460. </h2><p>
461. Try out these 10 free action LUTs by Motion Array.
462. </p><p>
463. <a class="nfs-button nfs-button--green" href="https://motionarray.com/blog/10-free-action-movie-luts" target="_blank">Download Now</a>
464. </p><h2 dir="ltr">
465. <a href="https://digitalcolorist.com/free-creative-luts/" target="_blank">8 Creative LUTs by Digital Colorist</a>
466. </h2><p>
467. Here are some really great LUTs by Digital Colorist. Check them out. It’s worth it.
468. </p><p>
469. <a class="nfs-button nfs-button--green" href="https://digitalcolorist.com/free-creative-luts/" target="_blank">Download Now</a>
470. </p><h2 dir="ltr">
471. <a href="https://www.rocketstock.com/free-after-effects-templates/35-free-luts-for-color-grading-videos/" target="_blank">35 Free LUTs by Rocketstock</a>
472. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="13994e930036760f2c2751d9e769a583" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/yBQV6yMvctE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
473. Probably my personal favorite set of LUTs. You get a lot of them and they are very high quality. Download them today.
474. </p><p dir="ltr">
475. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/35-free-luts-for-color-grading-videos/" target="_blank">Download Now</a>
476. </p><h2 dir="ltr">
477. <a href="https://filtergrade.com/free-cinematic-luts-video-editing/" target="_blank">8 Cinematic LUTs by Filter Grade</a>
478. </h2><p>
479. Here are some really well done, free LUTs by Filter Grade
480. </p><p dir="ltr">
481. <a class="nfs-button nfs-button--green" href="https://filtergrade.com/free-cinematic-luts-video-editing/" target="_blank">Download Now</a>
482. </p><h1 dir="ltr" id="Free+Sound+Effects" name="Free+Sound+Effects">
483. Free Sound Effects
484. </h1><h2 dir="ltr">
485. <a href="https://www.filmmakersmanual.com/free-gun-sound-effects" target="_blank">286 Free Gun Sound Effects by Filmmakers Manual</a>
486. </h2><p>
487. These are some really amazing sound effects by <a href="https://www.filmmakersmanual.com" target="_blank">Filmmakers Manual</a>. This is actually a small sample from their 2,000 action sound effects pack, <a href="https://www.filmmakersmanual.com/store/valhalla" target="_blank">Valhalla</a>. This free sound effects pack comes full of awesome gun sounds like gunshots, shells hitting the ground, reloading, racking and much, much more.  
488. </p><p>
489. <a class="nfs-button nfs-button--green" href="https://www.filmmakersmanual.com/free-gun-sound-effects" target="_blank">Download Now</a>
490. </p><h2 dir="ltr">
491. <a href="https://filtergrade.com/free-cinematic-luts-video-editing/" target="_blank">FreeSFX.com</a>
492. </h2><p>
493. If you’re in a pinch and need some sound effects, then head on over to freeSFX and browse around. There is some decent stuff in there.
494. </p><p>
495. <a class="nfs-button nfs-button--green" href="https://filtergrade.com/free-cinematic-luts-video-editing/" target="_blank">Download Now</a>
496. </p><h2 dir="ltr">
497. <a href="https://www.99sounds.org/" target="_blank">99 Sounds</a>
498. </h2><p>
499. Now, this is a rad website. It's stocked with insane themed sound effects, and best of all, they’re all free. You have to check out this website.
500. </p><p>
501. <a class="nfs-button nfs-button--green" href="https://www.99sounds.org/" target="_blank">Download Now</a>
502. </p><h2 dir="ltr">
503. <a href="https://www.premiumbeat.com/blog/free-ambient-background-tracks/" target="_blank">15 Free Ambient Sounds by PremiumBeat</a>
504. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c38cbc6ee199942a8c0d99d0e5e18cf8" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/jhwqagKG6TI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
505. PremiumBeat is offering some pretty amazing ambient sounds that are very unique.
506. </p><p dir="ltr">
507. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/free-ambient-background-tracks/" target="_blank">Download Now</a>
508. </p><h2 dir="ltr">
509. <a href="https://sellfy.com/p/MxNV/" target="_blank">6 Transition Sounds by Austin Newman</a>
510. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="cbe344c15084afdfec829aac6c1813e9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rvaTKOpRxlQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
511. Here are 6 amazing sound effects engineered for transitions. Check them out.
512. </p><p dir="ltr">
513. <a class="nfs-button nfs-button--green" href="https://sellfy.com/p/MxNV/" target="_blank">Download Now</a>
514. </p><h2 dir="ltr">
515. <a href="https://www.premiumbeat.com/blog/epic-free-sound-effects-for-film-video-trailers/" target="_blank">Epic Sound Effects by PremiumBeat</a>
516. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e9d009904db2bbc6845e54f9433c09d3" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Hb7lXk4yPqU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
517. These are some pretty awesome sound effects that PremiumBeat made.
518. </p><p dir="ltr">
519. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/epic-free-sound-effects-for-film-video-trailers/" target="_blank">Download Now</a>
520. </p><h2 dir="ltr">
521. <a href="https://www.freesound.org/" target="_blank">Free Sound</a>
522. </h2><p>
523. If you have some time to spare and can dig around for some sounds, then head on over to freesound.org.
524. </p><p>
525. <a class="nfs-button nfs-button--green" href="https://www.freesound.org/" target="_blank">Download Now</a>
526. </p><h2 dir="ltr">
527. <a href="https://www.premiumbeat.com/blog/free-sci-fi-hud-computer-sfx/" target="_blank">29 Free Futuristic and HUD Sound Effects by PremiumBeat</a>
528. </h2><p>
529. PremiumBeat has done it again. These are very professional sound effects that can be used in almost any futuristic film.
530. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="9340523aeba403e50cf9df4db47d5178" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PObGk3dQHXo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p dir="ltr">
531. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/free-sci-fi-hud-computer-sfx/" target="_blank">Download Now</a>
532. </p><h2 dir="ltr">
533. <a href="https://www.actionvfx.com/collections/free-bullet-hits-sound-fx" target="_blank">Free Bullet Hit Sound Effects by ActionVFX</a>
534. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="f3c7b4ac69455b1b6b9e3db7c75fd39c" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/TVmFjjbKrvs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
535. ActionVFX is giving away 36 high-quality bullet impact sound effects, including different types of hits: glass, metal, and wall/ground. This pack also includes 10 bullet flyby sound effects. Check them out and get to downloading!
536. </p><p dir="ltr">
537. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-bullet-hits-sound-fx" target="_blank">Download Now</a>
538. </p><h2 dir="ltr">
539. <a href="https://www.actionvfx.com/collections/free-explosion-sound-fx" target="_blank">Free Explosion Sound Effects by ActionVFX</a>
540. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="5838509d24aea953cdcd3a814234e14f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/n9Xnv27ctvU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
541. Yet another amazing free sound effects giveaway by ActionVFX. Included are 45 different variations of REAL explosion sound effects, including gas explosions, dirt explosions, glass, and debris explosions. If you have any explosion scenes in your film, then you need to download this now!
542. </p><p dir="ltr">
543. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-explosion-sound-fx" target="_blank">Download Now</a>
544. </p><h2 dir="ltr">
545. <a href="https://www.actionvfx.com/collections/free-water-sound-fx-stock-footage" target="_blank">Free Water Sound Effects by ActionVFX</a>
546. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="4e50a184317f9842204d12c7fca573cb" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/M6nWInO5F38?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
547. ActionVFX is giving away free water sound effects. This pack includes 34 water sound effects and has water blasts, water splashes, and small water hits. Check it out.
548. </p><p dir="ltr">
549. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-water-sound-fx-stock-footage" target="_blank">Download Now</a>
550. </p><h1 dir="ltr" id="Light+Leaks" name="Light+Leaks">
551. Light Leaks
552. </h1><p dir="ltr">
553. Light leaks have such a unique way of changing the overall tone of your video, but creating your own can be time-consuming and draining. That’s why we’ve created this list of totally free light leaks you can download right now.
554. </p><h2 dir="ltr">
555. <a href="https://www.rocketstock.com/free-after-effects-templates/free-wedding-titles/" target="_blank">16 Light Leaks by Rocketstock</a>
556. </h2><p dir="ltr">
557. Designed for weddings in mind, these light leaks can really be used for anything. Rocketstock has created 16 free light leaks and 5 wedding titles you can download right now. These are high-quality light leaks and work with both Premiere Pro and After Effects. Download them now.
558. </p><p>
559. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/free-wedding-titles/" target="_blank">Download Now</a>
560. </p><h2 dir="ltr">
561. <a href="https://creativedojo.net/free-light-leaks-pack/" target="_blank">Free 4K Light Leaks by Creative Dojo</a>
562. </h2><p>
563. Creative Dojo did not let us down with this pack of 15 free 4K light leaks. You can download them here.
564. </p><p>
565. <a class="nfs-button nfs-button--green" href="https://creativedojo.net/free-light-leaks-pack/" target="_blank">Download Now</a>
566. </p><h1 dir="ltr" id="Free+Film+Grains" name="Free+Film+Grains">
567. Free Film Grains
568. </h1><p dir="ltr">
569. A good film grain can really help your film achieve a certain aesthetic, giving it a texture that is hard to capture with digital cameras. We have searched the furthest corners of the internet to show you the best free film grains.
570. </p><h2 dir="ltr">
571. <a href="https://store.droneproacademy.com/lead-magnet" target="_blank">Free Film Grains and Burns by Gorilla Grain</a>
572. </h2><p>
573. Anyone who knows film grains knows about Gorilla Grain. The company has made some really impressive film grains available for free... the only problem is that they are only in 720p. It’s totally worth the download though. Check it out.
574. </p><p>
575. <a class="nfs-button nfs-button--green" href="https://store.droneproacademy.com/lead-magnet" target="_blank">Download Now</a>
576. </p><h2 dir="ltr">
577. <a href="https://www.holygrain.com/free-film-grain-download/" target="_blank">Free 35mm Film Grain by Holy Grain</a>
578. </h2><p>
579. Holy Grain has created an excellent film grain overlay that works with any NLE like Premiere Pro, After Effects, Final Cut Pro, and <a class="word-link" href="https://www.blackmagicdesign.com/products/davinciresolve" rel="nofollow" target="_blank" title="DaVinci Resolve">DaVinci Resolve</a>. Check out the company's site and download this grain today.
580. </p><p>
581. <a class="nfs-button nfs-button--green" href="https://www.holygrain.com/free-film-grain-download/" target="_blank">Download Now</a>
582. </p><h2 dir="ltr">
583. <a href="https://sellfy.com/austinmakesfilms/p/UAz9/" target="_blank">Super 8mm Film Grain by Austin Newman</a>
584. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="5f812a2b9dfa1bca53349ce95460dc0f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BtTB7HA_BAM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
585. Need a 1960s style feel for your film? Look no further. Austin Newman has done it again with his super 8mm film grain. This is actually one of my favorites.
586. </p><p dir="ltr">
587. <a class="nfs-button nfs-button--green" href="https://sellfy.com/austinmakesfilms/p/UAz9/" target="_blank">Download Now</a>
588. </p><h2 dir="ltr">
589. <a href="https://vegasaur.com/free-35mm-film-grain" target="_blank">Free Film Grain by Vegasaur</a>
590. </h2><p class="shortcode-media shortcode-media-vimeo"><iframe class="rm-shortcode" data-rm-shortcode-id="edba88457acaee1c86780101dc1a13f5" frameborder="0" height="480" scrolling="no" src="https://player.vimeo.com/video/60797863" width="100%"></iframe></p><p>
591. Vegasaur is offering a free 35mm film grain overlay made from actual film. Like Gorilla Grain’s free film grain download, though, it’s only offered in 720p.
592. </p><p dir="ltr">
593. <a class="nfs-button nfs-button--green" href="https://vegasaur.com/free-35mm-film-grain" target="_blank">Download Now</a>
594. </p><h1 dir="ltr" id="Free+Music" name="Free+Music">
595. Free Music
596. </h1><p dir="ltr">
597. Your score for your film, trailer, commercial, or really any video, is one of the most important aspects of that piece, but finding <em>good</em> free music for film or video can be a challenge. That's why we tried to make it a little easier for you by scouring through the internet to find you the best free music you can use. Well, here you go…
598. </p><h2 dir="ltr">
599. <a href="https://www.filmmusic.io/" target="_blank">Filmmusic.io</a>
600. </h2><p>
601. Filmmusic.io is a great site to search for free music. The catch… you can only download .mp3 for free, while .wav downloads require a premium account. You can check them out now.
602. </p><p>
603. <a class="nfs-button nfs-button--green" href="https://www.filmmusic.io/" target="_blank">Download Now</a>
604. </p><h2 dir="ltr">
605. <a href="https://www.youtube.com/user/NoCopyrightSounds" target="_blank">NoCopyrightSounds (NCS)</a>
606. </h2><p>
607. NoCopyrightSounds, or NCS, is a free music YouTube channel that has hundreds of copyright-free music. They almost completely focus on electronic, dubstep, house, and similar types of music. Check them out.
608. </p><p dir="ltr">
609. <a class="nfs-button nfs-button--green" href="https://www.youtube.com/user/NoCopyrightSounds" target="_blank">Download Now</a>
610. </p><h2 dir="ltr">
611. <a href="https://www.youtube.com/audiolibrary/music?nv=1" target="_blank">YouTube Audio Library</a>
612. </h2><p>
613. YouTube offers a massive library of music that you can download for free right now. After giving much of it a listen, we were pretty impressed by both the quantity and tthe quality of some of the tracks. Head on over and browse some free music.
614. </p><p>
615. <a class="nfs-button nfs-button--green" href="https://www.youtube.com/audiolibrary/music?nv=1" target="_blank">Download Now</a>
616. </p><h2 dir="ltr">
617. <a href="https://freemusicarchive.org/" target="_blank">Free Music Archive (FMA)</a>
618. </h2><p>
619. The Free Music Archive is a staple in the free music space. In fact, we would venture to say that they are the #1 resource for filmmakers when it comes to free music. Almost everyone knows who they are. Check out their music, you won’t be disappointed.
620. </p><p>
621. <a class="nfs-button nfs-button--green" href="https://freemusicarchive.org/" target="_blank">Download Now</a>
622. </p><h2 dir="ltr">
623. <a href="https://dig.ccmixter.org/" target="_blank">Digccmixter</a>
624. </h2><p>
625. With thousands upon thousands of songs, it's pretty crazy to think that you couldn’t find at least one song that would be a perfect fit for your film or video. Digccmixter is an excellent resource for you. Give them a little peek.
626. </p><p>
627. <a class="nfs-button nfs-button--green" href="https://dig.ccmixter.org/" target="_blank">Download Now</a>
628. </p><h2 dir="ltr">
629. <a href="https://bensound.com/royalty-free-music/cinematic" target="_blank">Bensound.com</a>
630. </h2><p>
631. Bensound.com is a great resource for your projects. They offer a ton of free, professional-sounding music, but you do have to attribute them.
632. </p><p>
633. <a class="nfs-button nfs-button--green" href="https://bensound.com/royalty-free-music/cinematic" target="_blank">Download Now</a>
634. </p><h1 dir="ltr" id="Free+Visual+Effects" name="Free+Visual+Effects">
635. Free Visual Effects
636. </h1><p dir="ltr">
637. 20 pots of coffee and 30 RedBulls later, we’ve rounded up all of the best free visual effects we could find for your videos. We pulled out all the stops to get you the best free stuff.
638. </p><h2>
639. <a href="https://www.actionvfx.com/collections/free-dust-wave-stock-footage" target="_blank">Free Dust Waves by ActionVFX</a>
640. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="36ca09a1b6ed60ec05244c03b53a08c0" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/NblxuZpFlVc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
641. ActionVFX is offering free dust waves overlays. These are REAL dust waves spreading across the ground and recorded on a RED camera at a whopping 2K resolution. This dust wave pack is insane. We would highly recommend you downloading these and keeping them just in case.
642. </p><p dir="ltr">
643. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-dust-wave-stock-footage" target="_blank">Download Now</a>
644. </p><h2 dir="ltr">
645. <a href="https://www.actionvfx.com/collections/free-spell-hits-stock-footage" target="_blank">Free Spell Hits by ActionVFX</a>
646. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="bc26bf94bbbfc3438ff91c9e6ad624bc" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/_FD3T_WYldk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
647. Recording a Harry Potter spoof? Maybe you're just making a fantasy film. Either way, these spell hits are pretty amazing and so versatile. Go to ActionVFX and download them.
648. </p><p dir="ltr">
649. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-spell-hits-stock-footage" target="_blank">Download Now</a>
650. </p><h2 dir="ltr">
651. <a href="https://www.actionvfx.com/collections/free-smoke-plumes-stock-footage" target="_blank">Free Smoke Plumes by ActionVFX</a>
652. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c8b92be40838e7be31b7268a1c830242" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/7lHW38CB1rI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
653. ActionVFX knocked it out of the park again. We can save everyone a bunch of time and tell you to just scour their website for a couple of hours and download everything you can. They recorded 20 REAL smoke plumes as they billow and offer it in 2K resolution, too.
654. </p><p dir="ltr">
655. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-smoke-plumes-stock-footage" target="_blank">Download Now</a>
656. </p><h2 dir="ltr">
657. <a href="https://www.actionvfx.com/collections/free-smoke-plumes-stock-footage" target="_blank">Free Fractured Glass Texture Vol. 1 by ActionVFX</a>
658. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="87a5a04b7d18a34cdfc7e518e21ee1c2" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/cu8ZDByRgBo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
659. ActionVFX released a fractured glass overlay. This is meant to simulate windows being broken, or even your camera lens. This pack comes with 15 free fractured glass textures that are REAL. And… they are also shot in 2.5K resolution!
660. </p><p dir="ltr">
661. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-smoke-plumes-stock-footage" target="_blank">Download Now</a>
662. </p><h2 dir="ltr">
663. <a href="https://www.actionvfx.com/collections/free-burn-mark-textures-vol-1-stock-footage" target="_blank">Free Burn Mark Textures Vol. 1 by ActionVFX</a>
664. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="09e9f9f95908f0819f0ab32cfbc7d050" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fWQI7s4KWDU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
665. Are you wondering what burn mark textures are? Watch the video below. You will be incredibly impressed with this layered effect. Download it now!
666. </p><p dir="ltr">
667. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-burn-mark-textures-vol-1-stock-footage" target="_blank">Download Now</a>
668. </p><h2 dir="ltr">
669. <a href="https://www.actionvfx.com/collections/free-blood-mist-stock-footage" target="_blank">Free Blood Mists by ActionVFX</a>
670. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c5d6989bb1a94747656371e87065433f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/LcuByyzge4I?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
671. Need some blood mists for an epic, bloody scene? Look no further. ActionVFX has created 15 REAL (but simulated, they aren’t monsters…) blood mists, that’s recorded in an impressive 2K resolution. They are also in 60 frames per second so you can slow it down. These are unkeyed, but that’s easy to do.
672. </p><p dir="ltr">
673. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-blood-mist-stock-footage" target="_blank">Download Now</a>
674. </p><h2 dir="ltr">
675. <a href="https://www.actionvfx.com/collections/free-bullet-shells-stock-footage" target="_blank">Free Bullet Shells by ActionVFX</a>
676. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="d08df86ab400d754cc26350ad270f394" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EJj27YqRx_c?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
677. ActionVFX has created some pretty incredible loopable, spinning bullet shells that are pre-keyed at 1080p. The pack comes with 9 different spinning shells and has different shells for assault rifles and pistols. Go to the website to download it!
678. </p><p dir="ltr">
679. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-bullet-shells-stock-footage" target="_blank">Download Now</a>
680. </p><h2 dir="ltr">
681. <a href="https://www.actionvfx.com/collections/free-bullet-hole-textures" target="_blank">Free Bullet Hole Textures by ActionVFX</a>
682. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="79cc1644bd34904324eaa831a8e14919" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/6bO0uIemnVQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
683. Are these guys going to stop making awesome free stuff!? Let’s hope not. The ActionVFX free bullet hole texture pack is a mammoth. It offers 137 different bullet hole textures spread across 6 different surfaces. This is definitely worth the download.
684. </p><p dir="ltr">
685. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-bullet-hole-textures" target="_blank">Download Now</a>
686. </p><h2 dir="ltr">
687. <a href="https://www.actionvfx.com/collections/free-lens-dirt-overlays" target="_blank">Free Lens Dirt Overlays by ActionVFX</a>
688. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="2635b88699595d0d00015a1bfd622d9f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/QjFlBzqaAv8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
689. ActionVFX has mastered the dirt overlay and they are giving it to you for free. These are REAL dirt overlays. That’s right. Real. They dirtied up their lenses with real dirt so you didn’t have to. Download these free lens dirt overlays in 2K resolution now.
690. </p><p dir="ltr">
691. <a class="nfs-button nfs-button--green" href="https://www.actionvfx.com/collections/free-lens-dirt-overlays" target="_blank">Download Now</a>
692. </p><h2 dir="ltr">
693. <a href="https://www.videocopilot.net/blog/2011/09/free-particle-stock-footage-tutorial/" target="_blank">Free Particle Stock Footage by Video Copilot</a>
694. </h2><p>
695. Video Copilot engineered some pretty cool particle effects. This pack comes with 15 free particle effects in 720p.
696. </p><p dir="ltr">
697. <a class="nfs-button nfs-button--green" href="https://www.videocopilot.net/blog/2011/09/free-particle-stock-footage-tutorial/" target="_blank">Download Now</a>
698. </p><h2 dir="ltr">
699. <a href="https://www.rocketstock.com/free-after-effects-templates/25-free-action-compositing-elements/" target="_blank">Action Pack Lite by Rocketstock</a>
700. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="776771fb0fd3d42bb90a69afc8adf1f9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/JbIY1RyTQ20?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p dir="ltr">
701. This is an absolutely amazing action pack that Rocketstock created. The Action Pack Lite includes VFX like smoke, muzzle flashes, fire, explosions and much more. They really pulled out all the stops with this.
702. </p><p dir="ltr">
703. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/25-free-action-compositing-elements/" target="_blank">Download Now</a>
704. </p><h2 dir="ltr">
705. <a href="https://www.rocketstock.com/free-after-effects-templates/16-free-4k-light-overlays/" target="_blank">Volumetric Light and Dust Overlays by Rocketstock</a>
706. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="d7bd3f20cad578aee8306b979f9147ba" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MZd9bFAEYyI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
707. Add some depth to your footage by going over to Rocketstock and downloading this awesome pack, which comes with 16 light and dust overlays all made in 4K. This is an incredible pack that’s worth having in your arsenal.
708. </p><p dir="ltr">
709. <a class="nfs-button nfs-button--green" href="https://www.rocketstock.com/free-after-effects-templates/16-free-4k-light-overlays/" target="_blank">Download Now</a>
710. </p><h2 dir="ltr">
711. <a href="https://www.premiumbeat.com/blog/free-4k-fog-overlays/" target="_blank">21 Free 4K Fog Overlays by PremiumBeat</a>
712. </h2><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e7c30e74e4567aed72f96a391dcdd9e2" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/xmPDzwlFFUk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
713. Need to set an eerie tone for your film? Why not download these 4K fog overlays by PremiumBeat? The fog overlay pack is an amazing overlay and one that we think almost everyone should have.
714. </p><p dir="ltr">
715. <a class="nfs-button nfs-button--green" href="https://www.premiumbeat.com/blog/free-4k-fog-overlays/" target="_blank">Download Now</a>
716. </p><h1 dir="ltr" id="Free+Stock+Footage" name="Free+Stock+Footage">
717. Free Stock Footage
718. </h1><p dir="ltr">
719. If you have the money for amazing ultra high definition video, then sites like <a href="https://artgrid.io/Artgrid-114820/?artlist_aid=thecarsondg_652&utm_source=affiliate_p&utm_medium=thecarsondg_652&utm_campaign=thecarsondg_652" target="_blank">ArtGrid.io</a> are absolutely perfect. But most of us just don’t have the money for something like that. You know what's free, though? Scouring the internet for free stock footage... and guess what. We did all the hard work for you. Here are our recommendations for the best FREE stock footage that the internet has to offer.
720. </p><h2 dir="ltr">
721. <a href="https://www.pixabay.com" target="_blank">Pixabay</a>
722. </h2><p>
723. Ah, good ole’ Pixabay. Filmmakers for years have been visiting this site and downloading footage for their films and videos. Pixabay also has illustrations, photos, and vectors.
724. </p><p>
725. <a class="nfs-button nfs-button--green" href="https://www.pixabay.com/" target="_blank">Download Now</a>
726. </p><h2 dir="ltr">
727. <a href="https://www.pexels.com/videos/" target="_blank">Pexels</a>
728. </h2><p>
729. This site is great! It’s full of amazing stock footage uploaded by filmmakers just like yourself. We are extremely impressed with the quality of stock footage that Pexels offers. It’s great to see other filmmakers contributing to the filmmaking community.
730. </p><p>
731. <a class="nfs-button nfs-button--green" href="https://www.pexels.com/videos/" target="_blank">Download Now</a>
732. </p><h2 dir="ltr">
733. <a href="https://coverr.co/" target="_blank">Coverr</a>
734. </h2><p>
735. Coverr was actually news to us, but when we stumbled upon this website and took a peek behind the curtains, we couldn’t believe what we saw. Downloading footage on Coverr is incredibly easy. No signup needed.
736. </p><p>
737. <a class="nfs-button nfs-button--green" href="https://coverr.co/" target="_blank">Download Now</a>
738. </p><h2 dir="ltr">
739. <a href="https://www.videezy.com/" target="_blank">Videezy</a>
740. </h2><p>
741. Everyone should know about Videezy, but just in case you don’t, we put it on our list of must-see stock footage. They have a large selection of free footage, some of which is available in 4K. We will say though, that you will have to dig around for the footage you may want on this site. While free and pretty decent, some clips are just a little sub-par compared to other sites.
742. </p><p>
743. <a class="nfs-button nfs-button--green" href="https://www.videezy.com/" target="_blank">Download Now</a>
744. </p><h2 dir="ltr">
745. <a href="https://www.videvo.net/" target="_blank">Videvo</a>
746. </h2><p>
747. Videvo is another site we stumbled upon on our quest to find you free stock footage. Just like Coverr, we were super impressed with the quality of stock footage that was on the site. They offer a large selection of 1080p and 4K stock footage that is worth checking out.
748. </p><p>
749. <a class="nfs-button nfs-button--green" href="https://www.videvo.net/" target="_blank">Download Now</a>
750. </p><h2 dir="ltr">
751. <a href="https://mixkit.co/free-stock-video/" target="_blank">Mixkit</a>
752. </h2><p>
753. Mixkit is an amazing stock footage site. It’s filled to the brim with high-quality stock footage with a decent selection of 4K footage as well. The best part… you guessed it, it’s all free.
754. </p><p>
755. <a class="nfs-button nfs-button--green" href="https://mixkit.co/free-stock-video/" target="_blank">Download Now</a>
756. </p><h2 dir="ltr">
757. <a href="https://mazwai.com/" target="_blank">Mazwai</a>
758. </h2><p>
759. Mazwai was built with one simple goal: to provide free, high quality, cinematic stock footage that can be used in a wide range of creative projects. They did not fail with their mission statement. The site has so much free stock footage to offer.
760. </p><p>
761. <a class="nfs-button nfs-button--green" href="https://mazwai.com/" target="_blank">Download Now</a>
762. </p><hr/><p>
763. Know of any other free video assets? Feel free to share any we missed down in the comments.
764. </p>]]></description><pubDate>Fri, 03 May 2024 17:15:00 +0000</pubDate><guid>https://nofilmschool.com/free-film-assets</guid><category>Assets</category><category>Free</category><category>Transitions</category><category>Presets</category><category>Plugins</category><category>Luts</category><category>Sound effects</category><category>Stock footage</category><category>Stock music</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/free-post-production-assets.jpg?id=34061961&amp;width=980"></media:content></item><item><title>Should I Register My Script with the WGA or Copyright It? </title><link>https://nofilmschool.com/wga-registration</link><description><![CDATA[
765. <img src="https://nofilmschool.com/media-library/should-i-register-my-script-with-the-wga-or-copyright-it.jpg?id=34066983&width=1200&height=800&coordinates=0%2C0%2C0%2C1"/><br/><br/><p>
766. So you have your best idea, you wrote an incredible screenplay, and now you want to send it out to contests and to search for <a href="/How-to-get-an-agent">agents and managers</a>...BUT WAIT!
767. </p><p>
768. How do you know your idea is protected? How do you ensure that your ideas remain your ideas?
769. </p><p>
770. The answer is simple: you can safeguard your idea via registering your screenplay with the WGA or copyrighting the script with the United States Government. But which is right for you and your screenplay?
771. </p><p>
772. Let's dive into WGA registration and copyrighting your screenplay to find out which is best.
773. </p><h2>
774. What is WGA Registration?
775. </h2><p>
776. WGA registration is a process where you tell the WGA the origin date of your idea, so you can keep track of it in case you submit it somewhere and later see someone profiting with your same idea later. This is rare, but it has happened in the past. So, the WGA invented registration to help protect writers.
777. </p><p>
778. If you register your script with the WGA, your protections last five years.
779. </p><p>
780. The advantage of registration is that in the event of a lawsuit or a credit arbitration, the WGA will have an employee appear and testify concerning the date of the registration.
781. </p><p>
782. Some examples of registerable material include <a href="/How-to-write-a-screenplay-week-one">scripts</a>, <a href="/film-treatment">treatments</a>, <a href="/how-to-write-a-movie-synopsis">synopses</a>, and <a href="/How-to-outline-a-screenplay">outlines</a>. Also, you can do all the registration alone. So that's super convenient.
783. </p><p>
784. Registration with the WGA is not a Copyright. So why would you register your script with the WGA?
785. </p><p>
786. Here's what their <a href="https://www.wgawregistry.org/" target="_blank">site</a> says:
787. </p><p class="indent1">
788. <em>"As the world leader in screenplay registration, the WGAW Registry has been the industry standard in the creation of legal evidence for the protection of writers’ work since 1927...The WGA West is the home to nearly 12,000 of Hollywood's leading TV and screenwriters, but you do not need to be a WGAW member to use this vital Guild service."</em>
789. </p><h2>
790. Why would I copyright my screenplay?
791. </h2><p>
792. Copyrighting your idea establishes ownership of it. That doesn't mean you own every space pirate idea, but it does keep the specific details of your space pirate script your own. Copyright registration lasts for your entire life, plus 70 years, so that's a little more than the five the WGA can guarantee.
793. </p><p>
794. Copyright services also allow you to bill your lawyers out to whoever stole your idea, so you won't lose money defending you stuff in court.
795. </p><p>
796. The major downside is that it usually takes 4-6 months to obtain a copyright, whereas WGA registration is instantaneous.
797. </p><p>
798. You can learn how to copyright a script in the below video or on the <a href="https://www.copyright.gov/registration/performing-arts/" target="_blank">US Copyright office's website</a>.
799. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="7642194424bcd487399ea9432608ba1b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/sp8FJI_XW2U?rel=0&start=3" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
800. What is the Difference Between WGA Registration & Copyright?
801. </h2><p>
802. While this can all seem a little complicated, <a href="https://www.writersstore.com/wgaw-registration-vs-copyright-registration/" target="_blank">The Writer's Store</a> gives you this helpful infographic to weigh both options.
803. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="WGA Registration" class="rm-shortcode" data-rm-shortcode-id="47010ffc595e1f9b32cc8151913ef852" data-rm-shortcode-name="rebelmouse-image" id="c7d0c" loading="lazy" src="https://nofilmschool.com/media-library/wga-registration.png?id=34066984&width=980"/>
804. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: The Writer's Store</small>
805. </p><h2>
806. Should you register or copyright?
807. </h2><p>
808. Personally, I'd just register it with the WGA because it's fast, easy, and instant. If you're super worried, submit that copyright.
809. </p><p>
810. I want to stress that idea stealing is not a rampant occurrence in Hollywood, but there's a good <a href="https://www.today.com/popculture/million-dollar-ideas-often-stolen-hollywood-wbna15641336" target="_blank">Today Article</a> about the times it has happened. Remember, Ideas are not subject to federal copyright protection, only finished products.
811. </p><p>
812. So get writing and finish your work!
813. </p><h2>
814. What's next? <a href="/How-to-write-a-screenplay-week-one">Write a Screenplay in Ten Weeks</a>!
815. </h2><p dir="ltr">
816. Screenwriting is hard. But to become a filmmaker, you need to learn script writing to master storytelling. We'll give you free lessons.
817. </p><p dir="ltr">
818. Click the link to learn more!
819. </p>]]></description><pubDate>Fri, 03 May 2024 17:05:00 +0000</pubDate><guid>https://nofilmschool.com/wga-registration</guid><category>Wga</category><category>Script</category><category>Script registration</category><category>Screenplay</category><category>Screenplay registration</category><category>Copyright</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/should-i-register-my-script-with-the-wga-or-copyright-it.jpg?id=34066983&amp;width=980"></media:content></item><item><title>The 'Cool Girl' Trope</title><link>https://nofilmschool.com/cool-girl-trope</link><description><![CDATA[
820. <img src="https://nofilmschool.com/media-library/the-cool-girl-trope.webp?id=48165838&width=1200&height=800&coordinates=4%2C0%2C5%2C0"/><br/><br/><p>
821. Sometimes when you're writing a new screenplay or pilot, you want to develop a character you think takes on the normal tropes or stereotypes. But sometimes that trope subversion is actually the new trope.
822. </p><p>
823. Yeah, I know, it's a brain twister. But stick with me.
824. </p><p>
825. Today I want to talk about cool girls.
826. </p><p>
827. No, I'm not talking about your mother.
828. </p><p>
829. I'm talking about the character who pops off the page and can attract all sorts of actors, depending on the role's execution.
830. </p><p>
831. Check out this video from The Take and let's talk after the jump!
832. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e203678e501f594313584a96e9afec8c" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/bEKNFX7LWRk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
833. A Deep Dive Into the 'Cool Girl' Trope
834. </h2><p>
835. Okay, you've watched the video. Let's dive into what it means for your screenplay and pilots.
836. </p><h4>
837. What is the cool girl?
838. </h4><p>
839. The cool girl is one of the guys. She's the direct mirror to the male protagonists' likes and dislikes within the world. She's fun, raunchy, profane, and effortlessly hot. The most important aspect of a cool girl is that "she's not like other girls."
840. </p><p>
841. She also will have almost no <a href="/Character-arc-definition-and-examples">arc</a> outside of what happens to her love interest.
842. </p><p>
843. Sheesh.
844. </p><p>
845. Let's dig deeper.
846. </p><h4>
847. Where did the cool girl idea come from?  
848. </h4><p>
849. The cool girl is a myth perpetuated by mostly male writers. It was called out and deconstructed by Gillian Flynn in her book and subsequent movie, <em>Gone Girl</em>.
850. </p><p>
851. In this monologue, we hear everything that makes up the male fantasy of this kind of character trope.
852. </p><p>
853. Flynn got the idea of the cool girl from watching the movie, <em>There's Something About Mary</em>. In the film, Cameron Diaz's character plays golf, eats fast food, loves beer, and her actions lead a number of men to fall in love with her.
854. </p><p>
855. She's portrayed as the perfect woman. Laid back, interested in dweeby, out of shape guys as much as jocks, and never stresses.
856. </p><p>
857. This lead Flynn to think of her as "such a cool girl" and was the launch for the idea.
858. </p><p>
859. But the "cool girl" ideas has been in film and television since its inception.
860. </p><p class="shortcode-media shortcode-media-youtube">
861. <span class="rm-shortcode" data-rm-shortcode-id="9ed87855761c5a5c879a53ad9a216616" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/0o4heKCLeTs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
862. <small class="image-media media-caption" placeholder="Add Photo Caption...">Gone Girl (2014) HD - Cool Girl</small>
863. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
864. <a href="https://www.youtube.com/watch?v=0o4heKCLeTs" target="_blank">www.youtube.com</a>
865. </small>
866. </p><h3>
867. The cool girl in movies and TV
868. </h3><p>
869. As you're reading, I'm sure your mind immediately is jumping to different portrayals of this kind of character.
870. </p><p>
871. TV shows like <em>How I Met Your Mother </em>thrive off this kind of writing and casting. They both have female characters played by incredibly hot actresses that just want to hang with the guys, smoke cigars, and drink scotch.
872. </p><p>
873. Or what about <em>That 70's Show</em> where Donna's a tomboy and loves to wrestle?
874. </p><p>
875. In feature films, you don't have to dig deep to bring the cool girls to the front of the line.
876. </p><p>
877. These women are usually stripped of their femininity outside of pure looks, which gets to point of emphasis across clearly. They have to be attractive.
878. </p><p>
879. Olivia Wilde's character in <em>Drinking Buddies </em>is a brewmaster who just wants to hang.
880. </p><p>
881. Sloane, from <em>Ferris Beuller</em>, was all about fulfilling Ferris' fantasies about his big day off. She was along for the wild ride.
882. </p><p>
883. Or what about the character of Rachel, in <em>Forgetting Sarah Marshall</em>? Her entire plotline is that she can just cut loose and hang, which is what our lead needs in a girl so he can be the one who shines...
884. </p><h3>
885. The cool girl deconstructed
886. </h3><p>
887. The male point of view in writing within the history of the industry has been discussed a lot. We know that with equality comes a new point of view, and as we embrace that we'll get better film and TV.
888. </p><p>
889. That being said, there is a long history of this trope from even the early days of Hollywood.
890. </p><p>
891. Movies like <em>Bringing Up Baby</em> showed women fulfilling the male fantasy, in an almost manic pixie dream girl sort of way.
892. </p><p>
893. This is not to say women don't enjoy beer, or golf, or sports...plenty of entertainment goes out of its way to frame this correctly...but when those same women are only defined by how hot they are at the end of it, like Megan Fox's character in <em>Transformers, </em>you have a problem.
894. </p><p>
895. Aside from the sexism at the center, it's also terrible storytelling.
896. </p><p>
897. Cool girls are often so thinly written that they are unrelatable to anyone watching or force insane fantasies upon viewers that set an impossible standard by which we judge people in real life.
898. </p><p>
899. If your audience cannot identify with the people on the screen you'll have lost them right away.
900. </p><p>
901. The same goes for the development executives reading and considering your projects.
902. </p><h3>
903. How do we destroy this trope?
904. </h3><p>
905. We need characters with individuality.
906. </p><p>
907. The more you focus on the <a href="/Character-Development">development</a> and arcs of the characters at the center, the less they'll feel like stale archetypes with no part of reality.
908. </p><p>
909. Also, if you're writing a romantic comedy or drama, think about this question:
910. </p><p>
911. <em>What if your characters had to accommodate one another? </em>
912. </p><p>
913. What if both people at the center of the story had to fundamentally work on themselves or just reason with the other person to have a healthy dynamic?  
914. </p><p>
915. I think those kinds of questions could put you on the road to success and help you avoid any of the pitfalls mentioned earlier. As a male screenwriter, I also seek the advice and notes of people outside my purview. Get a few women to read your work if you're nervous!
916. </p><p>
917. If you don't know any women, that's a real problem!
918. </p><p>
919. We all want better film and television on the air. If we want to make the cool girl a gone girl, we need to write and produce knowing this trope exists and do our best to avoid it.
920. </p><p>
921. Let me know what you think in the comments!
922. </p><h2>
923. What's next? <a href="/TV-and-film-genres">Do a deep dive into genre</a>!
924. </h2><p>
925. Film and TV genres affect who watches your work, how it's classified, and even how it's reviewed. So how do you decide what you're writing? And which genres to mash-up? The secret is in the tropes.  
926. </p><p>
927. Click to learn!
928. </p>]]></description><pubDate>Fri, 03 May 2024 16:45:00 +0000</pubDate><guid>https://nofilmschool.com/cool-girl-trope</guid><category>Tropes</category><category>Cool girl</category><category>Gone girl</category><category>Mean girls</category><category>Character</category><category>Cool girl trope</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-cool-girl-trope.webp?id=48165838&amp;width=980"></media:content></item><item><title>Apply Grades to Clips or Node Stack Layers with DaVinci Resolve 19 Beta 2 Update</title><link>https://nofilmschool.com/davinci-resolve-19-beta-2</link><description><![CDATA[
929. <img src="https://nofilmschool.com/media-library/davinci-resolve-public-beta-2.jpg?id=52168039&width=1200&height=800&coordinates=212%2C0%2C224%2C0"/><br/><br/><p>Since the <a href="https://nofilmschool.com/davinci-resolve-19" target="_self"><u>reveal of DaVinci Resolve 19</u></a> as part of Blackmagic Design’s <a href="https://nofilmschool.com/tag/nab-2024" target="_self"><u>suite of announcements</u></a> at the beginning of the conference in Vegas this year, we’ve been excited to see how interested editors and Resolve-heads respond to the latest version with its new features.</p>
930. <p>And, as is to be expected for any new major update from Blackmagic in particular, the brand is back with a new beta 2 update for Resolve 19 that should add even more new support and features, plus—of course—provide some minor to major improvements and bug fixes.</p>
931. <p>Let’s check out everything new coming to DaVinci Resolve Public Beta 2.</p><hr/><h3>Apply Grades to Clips or Active Node Stack Layers</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="6494b0a0e13155236084dfdbd1d5e8dc" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/CWxSHDBYR3E?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Perhaps the biggest new feature in DaVinci Resolve 19 Public Beta 2 is a new ability to apply grades to clips or active node stack layers. Users will be able to compare grades between an image in the gallery in Resolve or as a timeline item, which you can then either apply to the grade itself or to a layer or clip.</p><p>Resolve 19 Public Beta 2 will also be getting some updated media management tools where users will now be able to edit audio in MP4 and MOV video files, as well as added support for safe area overlays to use in the edit timeline. </p><p>There are also several updates to DaVinci Neural Engine, Replay Workflows, Color, and Fusion, which you can read about below.</p><h3></h3><br/><p><strong>Cut</strong></p><ul><li>New multi source option to view time-synced footage.</li><li>Support for displaying clip markers and keyframes.</li><li>Support for a large enhanced viewer in the cut page.</li><li>Live overwrite now starts with a single frame duration by default.</li><li>Interactive Resolve FX and Fusion effect overlays in the viewer.</li><li>Improved grouping of Fusion effects.</li></ul>
932. <p><strong>Replay Workflows</strong></p><ul><li>Support for the cut page as a media player and playout system.</li><li>Support for the DaVinci Resolve Replay Editor.</li><li>View ATEM multiview feeds live inside DaVinci Resolve.</li><li>Add points of interest and create replays from multiview and timeline.</li><li>Cue and run replays with live slow motion.</li><li>Pick from slow motion, ramp down and other retime presets.</li><li>Apply auto stingers to start and end of playback.</li><li>Automatically add replays to build highlights timelines.</li></ul>
933. <p><strong>DaVinci Neural Engine</strong></p><ul><li>IntelliTrack AI point tracker for tracking and stabilization.</li><li>AI powered UltraNR noise reduction for spatial denoising.</li><li>New voice isolation mode with faster response and buffering.</li><li>IntelliTrack powered audio panning to video in Fairlight.</li><li>New faster option for Speed Warp.</li><li>Music Remixer FX to remix voice, drums, bass, guitar and other sources.</li><li>Dialogue Separator FX to separate dialogue, background or ambience.</li><li>Option to detect speakers for text based editing workflows.</li></ul>
934. <p><strong>Edit</strong></p><ul><li>Ability to edit timeline content based on source clip transcription.</li><li>Option to display timecode column in the transcription window.</li><li>Option to search and replace partial words in the transcription window.</li><li>Select a sentence using mark clip in the transcription window.</li><li>Place on top button in the transcription window.</li><li>Ability to import and export transcriptions using SRT files.</li><li>Ability to detect speakers during transcription.</li><li>Preview, skim and scrub source audio channels in the inspector file tab.</li><li>Set common source audio configurations in the inspector.</li><li>Support for the precision trim editor in the timeline viewer.</li><li>Ability to select audio channels when aligning clips using waveform.</li><li>Support for fixed playhead mode in the timeline.</li><li>Support for bezier controls for Open FX keyframes.</li><li>Missing Text+ fonts are indicated as a viewer overlay.</li><li>Ability to edit Text+ titles in the viewer.</li><li>Ability to use the keyboard numeric keypad for direct timecode entry.</li><li>Effect library favorites are now categorized.</li><li>Option to search across all effect library folders.</li><li>Collapse effect library categories with alt or option double click.</li><li>Improved snapping and cursor sensitivity on the timeline.</li><li>Up to 50% faster iris, shape, wipe and simple dissolves on Apple Silicon.</li></ul>
935. <p><strong>Media</strong></p><ul><li>Support for updating clip usage for all timelines.</li><li>Ability to select channels when syncing audio using waveform.</li><li>Ability to reveal media pool bin from multi bin or search displays.</li><li>Media management now retains alpha for supported formats.</li><li>Marker clips are now editable in the media pool list view.</li><li>Generated proxies now retain reel number metadata.</li><li>Up to 3.5x faster Super Scale on supported AMD systems.</li></ul>
936. <p><strong>Color</strong></p><ul><li>New ColorSlice six vector grading palette.</li><li>Node Stack allows management of complex grading workflows.</li><li>Support for ACES AMF 2.0.</li><li>Option to normalize channels in the RGB mixer.</li><li>SDI output now shows advanced 3D keyer strokes and marker annotations.</li><li>Support for double clicking to open a compound node.</li><li>Preview matte node layers by alt or option hovering over layer entry.</li><li>Node context menu actions can now be assigned shortcut keys.</li><li>Support for cleaning up node graph for multiple selected clips.</li><li>Support for creating smart filters for HDR graded clips.</li><li>Improved stereoscopic 3D control layouts on advanced and mini panels.</li><li>Improved viewer zoom increments when using shortcut keys.</li><li>Option to link Dolby Vision target display selection for trims and preview.</li><li>Improved HDR Vivid support.</li><li>Support for FujiFilm Log and Log2 for color managed workflows.</li></ul>
937. <p><strong>Fusion</strong></p><ul><li>Fusion viewers are now color managed.</li><li>Multi Poly tool for easier rotoscoping of complex objects.</li><li>Support for Open Color IO 2.3.</li><li>Support for referenced Fusion compositions in the media pool.</li><li>USD enhancements for Material X and advanced volumetric shading.</li><li>Stereoscopic 3D clip support in Fusion compositions.*</li><li>Multiple shape toolset enhancements.</li><li>Improved Text+ inspector and on-screen controls.</li><li>Support for deleting and resetting layers in MultiMerge.</li><li>Option for sBooleans to retain the upstream style.</li><li>Option to specify duplication path in duplicate tools.</li><li>Set control to default now clears animations, modifiers and expressions.</li><li>Ability to match planar tracker sizes to dissimilar logo and image overlays.</li><li>Faster rendering of streaming 3D textures in compositions.</li><li>Up to 3x faster Magic Mask performance in Fusion.</li><li>New left flow and mid flow UI presets with vertical viewer layouts.</li></ul>
938. <p><strong>Resolve FX</strong></p><ul><li>New Film Look Creator.</li><li>Better Face Refinement box and profile handling and smooth skin options.</li><li>New Defocus Background isolates foreground with blur.</li><li>Improved blur quality for Radial Blur and Zoom blur.</li><li>Smoother sub pixel animation and finer control for Box and Directional blur.</li><li>Up to 3x faster Beauty, Edge Detect and Watercolor on Mac.</li><li>Up to 2x faster Beauty, Edge Detect and Watercolor on Nvidia systems.</li></ul>
939. <p><strong>Fairlight</strong></p><ul><li>Fully integrated native Ambisonics workflow.</li><li>IntelliTrack powered audio panning to video.</li><li>Ability to sidechain VST3 and AU audio effects.</li><li>Music Remixer FX to remix voice, drums, bass, guitar and other sources.</li><li>Dialogue Separator FX to separate dialogue, background and ambience.</li><li>Ducker track FX for auto level management of beds against dialogue.</li><li>Voice Isolation supports true stereo and improved buffering.</li><li>Dialogue Leveler has improved with faster cue up time.</li><li>Improved frequency analyzer displays for spectrum and waterfall options.</li><li>Multiple improvements for native FX processing.</li><li>Multiple automation improvements.</li><li>Support for panning in groups.</li><li>Support for clip head and tail snapping in focus mode.</li><li>Support for zoom to fit for timeline view.</li><li>Support for LTC and MTC chase.*</li><li>Support for an exclusive solo mode.</li><li>Support for fades with Dolby Atmos compositions.</li><li>Arming a track now patches default audio inputs.</li><li>Ability to loop playback over range from Fairlight panels.</li><li>Support for dynamic delay compensation with AU plugins.</li><li>Support for Sony 360RA Walkmix audio formats and plugin.</li><li>Improved ADM and Vivid audio with MPEG-H SDK 2.75.</li><li>Support for third party auto conform workflows.</li></ul>
940. <p><strong>Codecs</strong></p><ul><li>Up to 3x faster H.264 and H.265 decodes on non Studio in Windows.</li><li>Up to 2x faster H.264 and H.265 native encodes in Windows.</li><li>Support for encoding IMF packages with JPEG HT content.</li><li>Up to 2x faster decodes for ZIP1 compressed OpenEXR sequences.</li><li>Support for alpha-based HEIC formats.</li><li>Support for encoding FLAC audio.</li><li>Support for 44.1 KHz and other audio sample rates in Linux.</li><li>Render support for odd numbered resolutions in mov and avi formats.</li><li>Initial support for iPhone Cinematic video on Mac OS Sonoma.</li><li>DaVinci IO Encode Plugin SDK support for audio only formats.</li><li>Support for Sony XAVC H raw controls.</li><li>Support for embedded LUTs in Sony MXF and MP4 clips.</li><li>GPU accelerated decodes for ARRI Codex HDE on CUDA.</li></ul>
941. <p><strong>Scripting API</strong></p><ul><li>Support for managing clip color groups.</li><li>Ability to query timeline, clip and group node graphs.</li><li>Support for enumerating tools used in a given node.</li><li>Support for setting and getting color keyframe mode.</li><li>Ability to export clip LUTs.</li><li>Ability to export timeline ALE and CDL.</li><li>Ability to import OpenTimelineIO timelines with custom import options.</li></ul>
942. <p><strong>General</strong></p><ul><li>Organization profile support for Blackmagic Cloud.</li><li>Support for Blackmagic Cloud monthly Studio licenses.</li><li>Improved Blackmagic Cloud media sync dialog.</li><li>Open FX Resolve Renderer plugin for external VFX applications.</li><li>Support for German and Italian user interface localizations.</li><li>Support for duplicating local project libraries.</li><li>Support for restoring timeline backups from deleted timelines.</li><li>Loading large timelines now shows a progress bar.</li><li>Support for disabling specific video tracks for a render job.</li><li>Option to optimize audio loudness and peaks in render settings.</li><li>Support for HDR displays on Windows.*</li><li>Support for HDR scans using the new Cintel scanner 8mm gate.</li><li>Support for black and white scans from the Cintel scanner.</li><li>Clip flags and colors support in data burn-ins.</li><li>New workflow integration example for common MAM APIs.</li><li>DaVinci Remote Monitoring using IP address connections.</li><li>Option to specify a custom TURN server for remote monitoring.</li><li>General performance and stability improvements.</li></ul><h3>Notes for Installation</h3><br/><p>Blackmagic Design has shared that as a pre-install process, they recommend a full project library backup as well as individual project backups before opening projects in 19.0.</p><p>And that you will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware, with Desktop Video is available <a href="http://www.blackmagicdesign.com/support." rel="noopener noreferrer" target="_blank"><u>here</u></a>.</p>]]></description><pubDate>Fri, 03 May 2024 15:59:34 +0000</pubDate><guid>https://nofilmschool.com/davinci-resolve-19-beta-2</guid><category>Blackmagic design</category><category>Davinci resolve</category><category>Davinci resolve 19 public beta 2</category><category>Davinci resolve 19</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/davinci-resolve-public-beta-2.jpg?id=52168039&amp;width=980"></media:content></item><item><title>You Can Ignore This Screenwriting Advice</title><link>https://nofilmschool.com/11-minute-rule-writing</link><description><![CDATA[
943. <img src="https://nofilmschool.com/media-library/we-think-you-can-ignore-this-screenwriting-advice.jpg?id=34060102&width=1200&height=800&coordinates=0%2C20%2C0%2C36"/><br/><br/><p>
944. We know that opening scenes are important to grab your audience from the start, but not every movie can have an explosion or a thrilling chase right at the start. That's why some stories take a bit to get going. But how long is too long for things to happen in a story?
945. </p><p>
946. Recently, filmmaker/author Shane Stanley sat down with Film Courage to talk about a rule he thinks screenwriters should follow. Stanley says writers have just 11 minutes to tell the audience everything they need to know to enjoy the story.
947. </p><p>
948. Check out the video from <a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg" spellcheck="false" target="_blank">Film Courage</a> and let's talk after the jump.
949. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e53ee6b91b5e49202d104184daec3e62" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/43UJTFXKsY8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
950. What is the 11-Minute Rule of Screenwriting?
951. </h2><p>
952. If you want my opinion, there's only <a href="/plant-and-payoff-in-screenwriting">one rule in all of the medium of writing</a>, and that's if you plant it, pay it off.
953. </p><p>
954. Still, I think Stanley has an interesting point here. The first 11 minutes of your movie say a lot to the audience. Usually, they give us the character, show us who they are in their element, and give us the <a href="/TV-and-film-genres">genre</a>.
955. </p><p>
956. The basic 11-minute rule is that you need to show all your cards in the first 11 minutes, otherwise people won't care and they'll turn off or stop reading whatever you sent them.
957. </p><p>
958. I think this often gets people to start fast, and not start smart. Instead, I would posit that the only thing you have to worry about in the first 11 pages is to not be boring.
959. </p><p>
960. I like to think about the first pages as an opportunity to show what needs to change in the character's world. Even in a slower movie like <em>There Will Be Blood</em>, those pages are used wisely. We meet Daniel Plainview, we see what he wants, and we know what needs to change.
961. </p><p>
962. He wants oil and money.
963. </p><p>
964. We know he is looking for oil deposits all over, with the desire to own all the oil possible.
965. </p><p>
966. Okay. You might think this just works for prestige films, but what about applying the formula to something a little broader?
967. </p><p>
968. In <em>There's Something About Mar</em>y, we actually see the 11-minute rule broken. That movie's first 20ish minutes is about showing us how important Mary is to the people of a town, and how badly our <a href="/main-character-and-protagonist-defined">protagonist</a> failed at courting her.
969. </p><p>
970. What is so important here is the <a href="/worldbuilding-guide-tools-and-template">worldbuilding</a>.
971. </p><p>
972. We are never bored, it's a comedy, and we also understand one of the deepest issues driving our guy... love!
973. </p><p>
974. In the end, the 11-minute rule means well and can probably help you get your ducks in a row, but there are no real rules in screenwriting. Do what you think works, and choose what helps your story the best.
975. </p><p>
976. Let us know what you think in the comments.
977. </p><div>
978. <h2>
979. What's next? <a href="/how-write-screenplay-during-quarantine-free-ebook">Get our free screenwriting eBook</a>!
980. </h2>
981. </div><p>
982. So much of what we're talking about on No Film School when it comes to screenwriting is summarized in our new eBook. It also helps guide you through a 10-week writing plan that will get your script actually finished.
983. </p><p>Source: <a href="https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg">Film Courage</a></p>]]></description><pubDate>Fri, 03 May 2024 14:59:00 +0000</pubDate><guid>https://nofilmschool.com/11-minute-rule-writing</guid><category>Screenwriting advice</category><category>Opening scene</category><category>Act one</category><category>11 minute rule</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/we-think-you-can-ignore-this-screenwriting-advice.jpg?id=34060102&amp;width=980"></media:content></item><item><title>Check Out This Handy Writing Guide to Sitcom Structure</title><link>https://nofilmschool.com/sitcom-structure</link><description><![CDATA[
984. <img src="https://nofilmschool.com/media-library/check-out-this-handy-writing-guide-to-sitcom-format.jpg?id=34061891&width=1200&height=800&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>
985. The one thing no one really talks about with writing is that, aside from passion and creativity, there's some basic math involved. When it comes to TV writing, you need to handle act breaks and storylines sort of like an equation.
986. </p><p>
987. If you have 30 pages to tell a story, and 18 are devoted to the first act, how many are devoted to the others if the second needs to be 2/3 more than the other?
988. </p><p>
989. Wait...what?
990. </p><p>
991. Look, writing is not that kind of math, but it does have you balancing things that sometimes require an <a href="/How-to-outline-a-screenplay">outline</a> or just a solid plan.
992. </p><p>
993. After analyzing a few sitcom episodes from <em>Parks and Recreation</em>, there's a guide now on Reddit that dictates how you can mirror this classic sitcom's structure when it comes to telling your story. Check out this <a href="https://docs.google.com/presentation/d/12AkdA-tUjJaRaWjW7irZv3DRz-r8tSvEhIQ8PHVDbXE/edit#slide=id.p" target="_blank">Sitcom Structure Guide</a> written by Reddit user <a class="_2tbHP6ZydRpjI44J3syuqC _23wugcdiaj44hdfugIAlnX oQctV4n0yUb0uiHDdGnmE" href="https://www.reddit.com/user/castlescrumbled89/" target="_blank">castlescrumbled89</a>.
994. </p><p>
995. This is an overview of an episode's structure, arcs, and how the story breaks down minute by minute.
996. </p><p>
997. So let' take a closer look.
998. </p><h2>Guide to Sitcom Structure</h2><p>
999. One of the hardest things about TV writing is juggling multiple POVs and also plotlines. Everyone needs motivation for what's happening and all of them need a satisfying ending as well. You also want to leave room to expand on stories such as unrequited love or bigger issues later in the season.
1000. </p><p>
1001. So, it means not perfectly closing any of those loops.
1002. </p><p>
1003. But this chart is just focused on one episode...not the entire series.
1004. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="sitcom structure" class="rm-shortcode" data-rm-shortcode-id="5e5fff5f5b9e8d1c80a7ed547400b9dc" data-rm-shortcode-name="rebelmouse-image" id="50a87" loading="lazy" src="https://nofilmschool.com/media-library/sitcom-structure.png?id=34061110&width=980"/></p><p>
1005. First up, there's so much information packed into these slides. Not only are we treated to the "what should happen" in each act, but there is a page approximation accompanying them. <a href="/one-page-equals-one-minute">Each minute is about a page of screentime,</a> so keep that into account when you are writing.  
1006. </p><p>
1007. I also like how the A, B, and C stories all mirror one another.
1008. </p><p>
1009. Sitcoms are situational comedies and you need to put <a href="/Pickle-Rick-Screenwriting-Obstacles">obstacles</a> in the way of <a href="/search/?q=character">characters</a> and let them hash it out.
1010. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="sitcom structure" class="rm-shortcode" data-rm-shortcode-id="de6a8c3786592fed7300cf468d3e510c" data-rm-shortcode-name="rebelmouse-image" id="fa91e" loading="lazy" src="https://nofilmschool.com/media-library/sitcom-structure.png?id=34061111&width=980"/></p><p>I really like this chart that almost feels like it is a template for the show itself. We can see how A story, B, and C are all interwoven here. You could figure out your stories and beat them out this way for yourself, too. And you can even find out how these scenes overlap as you go. </p><p>
1011. Hopefully, this resource helps you see your story more clearly. Honestly, this is why people love to make notecards. You can tangibly see the beats and move them as you go. What works here is the ability to see the story at its completion.
1012. </p><p>
1013. These are only a couple of the resources provided on <a href="https://docs.google.com/presentation/d/12AkdA-tUjJaRaWjW7irZv3DRz-r8tSvEhIQ8PHVDbXE/edit#slide=id.p" target="_blank">the page</a>, which is totally worth a click and a deep dive.
1014. </p><p>
1015. Consider outlining your story this way and let us know if it works in the comments.
1016. </p><p>
1017. I'm excited to see what you come up with using this free tool.
1018. </p><h2>
1019. Up Next: <a href="/how-to-write-a-sitcom">Learn How to Write a Sitcom</a>!
1020. </h2><p>
1021. Learning how to write a sitcom can open your career to more opportunities and get your ideas on the small screen. But first, you have to master the sitcom structure and format.
1022. </p><p>Source: <a href="https://docs.google.com/presentation/d/12AkdA-tUjJaRaWjW7irZv3DRz-r8tSvEhIQ8PHVDbXE/edit#slide=id.p">castlescrumbled89</a></p>]]></description><pubDate>Fri, 03 May 2024 14:35:00 +0000</pubDate><guid>https://nofilmschool.com/sitcom-structure</guid><category>Tv writing</category><category>Sitcom</category><category>Sitcom structure</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/check-out-this-handy-writing-guide-to-sitcom-format.jpg?id=34061891&amp;width=980"></media:content></item><item><title>11 Tips to Spice up your Character Bios (FREE Template)</title><link>https://nofilmschool.com/character-bio-template</link><description><![CDATA[
1023. <img src="https://nofilmschool.com/media-library/character-bios.jpg?id=34059168&width=1200&height=800&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>
1024. If everyone has a story to tell, then every character in those stories needs to be made up of stories of their own, so the tale comes across as real and engaging. </p><p>The more detail you give your character, the more the audience can identify with them and the easier it'll be for your project to find its way to the big or small screen. To get your characters in shape, I recommend writing a character bio for them.
1025. </p><p>
1026. Today, we'll go over character bios, mini character bios, and we'll even give you some tips and tricks to deepen your characters with our character bio worksheet. They're the same as character profiles, so if you came here looking for those, you're in the right place.
1027. </p><p>
1028. So let's dive in!
1029. </p><h2 dir="ltr">
1030. What is a Character Bio?
1031. </h2><p>
1032. A character bio, or character profile, is a few sentences or pages that make up your character's story. They help embellish your character's traits and aid in <a href="/Character-Development">character development</a> and mapping out your <a href="/Character-arc-definition-and-examples">character's arc</a>. The bio should give the person reading it a way to personally connect with the character. It should not matter whether or not they are a <a href="/great-protagonist-personality">protagonist</a> or an <a href="/antagonist-examples-definition">antagonist</a>; the bio needs to provide information that makes that person more human. These bios don't have to occur on the screen. But they should be known by the writer, director, and actor to give depth and meaning behind every choice, and be available to provide backstory as needed in the script.
1033. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="4982c0a6f7e7106b8e9acaa18e05e693" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/wQcQ-As2BU0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2 dir="ltr">
1034. Mini Character Bios
1035. </h2><p dir="ltr">
1036. A mini character bio is a one-sentence summary of who that character is, for example, "Bruce Wayne is a billionaire philanthropist who dresses like a Bat to avenge his parents' death at the handle of a criminal." Your mini character bio can help when you're <a href="/How-To-Write-Elevator-Pitch">pitching your characters</a>. But if you're creating a <a href="/2015/03/house-cards-showrunner-beau-willimon-creating-successful-tv-series">bible</a> or a <a href="/film-treatment">treatment</a>, you might want to write a longer character bio, so development executives know exactly what to expect from the characters in your screenplay.    
1037. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="d8eec3b087b3edddb4a8f05dc312b67b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/5jRNcd-TXOw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2 dir="ltr">
1038. How to Expand your Character Bio
1039. </h2><p>
1040. Since screenwriting is an economical way to get ideas across, we often lose out on the art of expanding our character bios. But we have to be ready to give the long-form version of these biographies because they'll help inform the people playing our character and the casting search. They also are great in helping us define the hoops and hurdles people need to go through to arc. If we now why our characters are a certain way, we can help change them moving forward.
1041. </p><h2 dir="ltr">
1042. 11 Tips for Your Character Bios
1043. </h2><p>
1044. When you're expanding your character biographies, it can be hard to think about all the details you need to make a complete person. I've assembled 11 tips and tricks to help you add to your characters' stories. I'll provide examples for each, and we can go through them on the worksheet we provide to help you brainstorm.
1045. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Character bio examples" class="rm-shortcode" data-rm-shortcode-id="73337e21680c929f8259c859e9b9b0ac" data-rm-shortcode-name="rebelmouse-image" id="2ae5f" loading="lazy" src="https://nofilmschool.com/media-library/character-bio-examples.png?id=34068943&width=980"/></p><h3 dir="ltr">
1046. 1. Personal information
1047. </h3><p>
1048. This one is pretty easy. What should we know about your character? Height, weight, hair, personal style - give us the police description of who we are looking at and why they stand out in the crowd. Try to avoid cliches, such as labeling the women hot or beautiful, and telling us how muscular the men are. Sure, if you need to describe a superhero, maybe they're jacked and hot, but go a step further. What else can we know about them?  
1049. </p><p>
1050. For example, what do we know about Steve Rogers when we meet him? Sure he's puny, but how big is his heart? Consider digging deep when you get here.
1051. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e24013f693a1f731173d9178d403480e" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/UyQYp3-55kI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1052. 2. Their family
1053. </h3><p>
1054. As Dom Torretto can tell you, you're nothing without your family. So whether you're the Dad playing catch with his son in Field of Dreams, or the Joker's dad putting a smile on your face, or the mother from <em>Oedipus</em>, all the way to<em> Stranger Things</em>, let us know about the characters' family.
1055. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="555c3dc84d89cc8cf68c04816baaac4b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/IQuc7wfO16Q?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1056. 3. Strengths?
1057. </h3><p dir="ltr">
1058. Superman can leap tall buildings in a single bound and is faster than a speeding bullet. Elle Woods knows how to accessorize. What is your character good at? A lot of the story is going to focus on people overcoming things, and the way to plan that out is to see what they're good at and make sure the obstacles butt up against that. So pick out what you think your characters are good at and make sure that shines.
1059. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="8780ee6b727660ef3ef2b07f73c412a4" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/LMycxm3fDyE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1060. 4. Weaknesses?
1061. </h3><p dir="ltr">
1062. What's your character's kryptonite? Elle Woods relies too much on what people think of her and doesn't think enough about what she can accomplish. These weaknesses will help guide your<a href="/Three-act-structure"> story structure</a>. Keep your character bio fresh by talking about your character has problems with so that we have places for them to arc.
1063. </p><h3 dir="ltr">
1064. 5. Flaws?
1065. </h3><p dir="ltr">
1066. While this might get confused with weaknesses, it's a little more personal. Maybe your weakness is kryptonite, but a character flaw would be being willing to save everyone without taking time to save yourself. Think about Peter Parker - his flaw is that he values being a hero over being a kid, and that means sacrificing a lot of his relationships. This inability to show up for his friends is a huge character flaw. And if we include that in the character bio we will know how to craft our story, or even future movies or tv episodes, around this flaw.
1067. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="d927207fff6b8601e6a837bc4c882a6b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/XCvwEJmNyfI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1068. 6. What’s their backstory?
1069. </h3><p dir="ltr">
1070. Everyone comes from somewhere. The backstory is important because we are the sum of our parts. Your characters are the same way. Tell us where they came from and when their strengths, weaknesses, flaws, and family come from. This should be an amalgamation of all the tips - and an explanation for who the character is today. Think about Gamora from Guardians of the Galaxy. She's a fierce warrior with issues because Thanos raised her and took her from her fallen planet.
1071. </p><h3 dir="ltr">
1072. 7. Why Do We Care?
1073. </h3><p dir="ltr">
1074. Seriously. Why? Empathy is the strongest emotion. It's what connects us to your characters. Every character bio needs empathy. We need to know what these people are going through that makes them accessible to us. Michael Scott started as a character who we kind of hate, but then we realized he just wanted love. Michael was a guy afraid of dying alone, and who doesn't relate with that! Once we found empathy with Michael, he came into America's homes and became one of the most popular characters of all time. And this counts for villains too. We understood Killmonger's intentions, had empathy for his struggle, and it made <em>Black Panther</em> a deeper movie.
1075. </p><h3 dir="ltr">
1076. 8. What do they want?
1077. </h3><p dir="ltr">
1078. Wants and desires drive your character's intentions. They're arguably the most critical part of the character bio. The reason we watch your show or movie is to see <a href="/Pickle-Rick-Screenwriting-Obstacles">characters reach for their goals</a>. So knowing what drives them gives your story a ton of purpose. So what does your character want? It could be like Thanos, to rule the universe, or it could just be a small goal that drives a bigger story, like Mud's desire to get his boat running.
1079. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="c82b83f7e9fd97cbd853bded5add4b7b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/1hag3avWVXs?rel=0&list=PLZbXA4lyCtqojUqTv4P-GpjYF7hU_qVmt" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1080. 9. What’s in their way?
1081. </h3><p dir="ltr">
1082. Obstacles, and how they attack them, are the definition of a character. So it's time to define who this person is and what stands in their way from being the fulfillment of their dreams. Indiana Jones wants to be the guy who found the ark, but he has to beat the Nazis to get there. Just like Chiron wants love but coming out and being a gay man is frowned upon in his community. So each character has to overcome what stands in front of them to fulfill who they are in their bio.
1083. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="a01f22d239062f7c5fc0380315e285fb" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Ot9DX5S8aHk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1084. 10. How do they arc?
1085. </h3><p dir="ltr">
1086. We talk about <a href="/Character-arc-definition-and-examples">character arcs</a> here. It's the backbone of the story and should align with the<a href="/How-To-Make-A-Story-Map"> story map</a>. When it comes to the bio, we want to know where they start and where they're going. This matters especially in television because if you're staying with these characters for several seasons, we need to have illusions toward where they are going. Think about the <em>Cheers</em> dynamic with Sam and Diane, or even <em>Blackish's</em> Bo and Dre. Who are these people when we meet them? What puts a strain on their relationship and what can we do to bring them closer and tear them apart?
1087. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="cd171363e3ed4987934b1cd44e0dbe68" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3nidCsX_7xk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1088. 11. Do they have a secret?
1089. </h3><p dir="ltr">
1090. The last character bio tip and trick that I love is to give your character a secret. What's something they don't share with the world, or something we could reveal, that deepens who they are in our eyes? You could use a character secret <a href="https://springhole.net/writing_roleplaying_randomators/character-secret.htm" target="_blank">generator</a>, but it's probably better to just get to know your characters. I love big reveals, like Snape's obsession with Harry's mom. But you can have little things too, like Jon Snow being a Targaryen. Wait, that's not so small, but maybe something small like an alter ego, or maybe they have a hidden fear or love. Let your character's secrets get them in trouble, add some emotion, and dictate the path of your story.
1091. </p><p dir="ltr">
1092. Always.
1093. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="824bfcbc430c694844ef0fe11bbb1265" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/0MngJG8MNuA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
1094. Character Bio Worksheet
1095. </h2><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Character bio examples" class="rm-shortcode" data-rm-shortcode-id="fec479880eb535bed4df1aca1fa8776c" data-rm-shortcode-name="rebelmouse-image" id="4a88b" loading="lazy" src="https://nofilmschool.com/media-library/character-bio-examples.png?id=34068944&width=980"/></p><h2 dir="ltr">
1096. What’s Next? Join our<a href="/how-to-write-a-tv-pilot-week-one"> Free Drama Pilot Seminar!</a>
1097. </h2><p>
1098. Want to learn how to write a TV pilot? You've come to the right place.
1099. </p><p>
1100. Breaking into Hollywood with a writing career is one of the hardest things you can do. Fewer and fewer movies are being made every year, and now, many young writers are turning to television to find jobs. But to get a job in television, you need a sample. Samples are speculative pilot scripts that your <a href="/How-to-get-an-agent">agent</a> or manager can hand to showrunners to prove your worth.
1101. </p><p>
1102. So get writing, and make sure every character has a bio that matters!
1103. </p><p>
1104. I can't wait to read what you write next!
1105. </p><div>
1106. </div>]]></description><pubDate>Fri, 03 May 2024 14:35:00 +0000</pubDate><guid>https://nofilmschool.com/character-bio-template</guid><category>Character</category><category>Character arc</category><category>Character development</category><category>Character bio template</category><category>Character bio</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/character-bios.jpg?id=34059168&amp;width=980"></media:content></item><item><title>The 'Contact' Movie Explained</title><link>https://nofilmschool.com/contact-movie</link><description><![CDATA[
1107. <img src="https://nofilmschool.com/media-library/the-contact-movie-explained-what-does-the-ending-mean.jpg?id=34053149&width=1200&height=800&coordinates=87%2C0%2C115%2C0"/><br/><br/><p dir="ltr">
1108. I'm a sucker for <a href="/science-fiction-genre-movies-tv">science fiction</a> movies. I love stories about worlds far away from our own. But sometimes the rare science fiction movie lets us stay on our planet, during our current timeline, and allows us to dream of something bigger than all of us. One of my favorite movies with this premise is <em>Contact</em>. <em>Contact</em> is a 1997 film directed by <a href="https://en.wikipedia.org/wiki/Robert_Zemeckis" target="_blank" title="Robert Zemeckis">Robert Zemeckis</a>.
1109. </p><p dir="ltr">
1110. The movie was based on the 1985 novel by <a href="https://en.wikipedia.org/wiki/Carl_Sagan" target="_blank" title="Carl Sagan">Carl Sagan</a>. It stars <a href="https://en.wikipedia.org/wiki/Jodie_Foster" target="_blank" title="Jodie Foster">Jodie Foster</a> as Dr. Eleanor "Ellie" Arroway, a <a href="https://en.wikipedia.org/wiki/Search_for_extraterrestrial_intelligence" target="_blank" title="Search for extraterrestrial intelligence">SETI</a> scientist who finds evidence of life sending a message from outer space. The movie weighs science against faith as it attempts to unwrap the mysteries of the universe.
1111. </p><p dir="ltr">
1112. The cast of <em>Contact</em> is incredible, with Matthew McConaughey, James Woods, Tom Skerritt, William Fichtner, John Hurt, Angela Bassett, Rob Lowe, Jake Busey, and David Morse also starring in major roles. There are also some amazing twists and turns, with the ending of <em>Contact</em> being a really fun maneuver that throws us for a loop.
1113. </p><p dir="ltr">
1114. Today, we're going to get the movie <em>Contact</em> explained. We'll go over the <em>Contact</em> movie plot, the Carl Sagan book, and talk about how the author of <em>Contact</em> saw his vision come to life on the big screen with Zemeckis' superb direction. We'll also talk about how this Jodie Foster space alien movie represents a more low-key science fiction.
1115. </p><p dir="ltr">
1116. Let's jump in. </p><hr id="hr-toc" name="tableOfContents"/><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="3c0767430ab011458fd9a62775e374ec" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Q399v-pMG30?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><div>
1117. <h2 dir="ltr" id="The+Contact+Movie+Explained++What+Does+the+Ending+Mean+" name="The+Contact+Movie+Explained++What+Does+the+Ending+Mean+">
1118. The <em>Contact</em> Movie Explained: What Does the Ending Mean?
1119. </h2>
1120. <p dir="ltr">
1121. In order to understand the movie, we're going to have to dig inside the movie and go over key plot points and characters, and then sum up the ending. So the best way to do that, in my opinion, is to look at the <em>Contact</em> movie plot first.
1122. </p>
1123. </div><h3 dir="ltr" id="The+Contact++1997++movie+summary" name="The+Contact++1997++movie+summary">
1124. The <em>Contact</em> (1997) movie summary
1125. </h3><p dir="ltr">
1126. We’re zooming through the galaxy as the Earth gets smaller and smaller. We hear lots of radio frequencies and then zoom through a wormhole back to Earth where we meet a young Ellie Arroway. She’s using a CB radio to talk to people all over. Her father guides her in this process. We know they’re very close—her mother is dead, so it’s just the two of them.
1127. </p><p dir="ltr">
1128. We cut to the future, where Dr. Ellie Arroway works for the SETI program at the Arecibo Observatory in Puerto Rico. Her number-one hope is to find alien life. During her time there, she has a brief fling with a man named Palmer Joss. But she’s way more focused on her career to stick with him. Going against her is David Drumlin, the president's science advisor. He pulls the funding from SETI, believing it’s a waste of money. Arroway gains financial backing from Hadden Industries, which is run by a reclusive billionaire. He allows her to continue the project at the Very Large Array (VLA) in New Mexico.
1129. </p><p dir="ltr">
1130. Four more years into the future, Arroway discovers a signal repeating a sequence of prime numbers sent from the star system Vega about 26 light-years away. Of course, this freaks everyone out. And Drumlin and the National Security Council, led by Michael Kitz, try to take over the facility. Hidden inside the signal is Hitler's opening address at the 1936 Summer Olympics in Berlin. While everyone gets very scared, Arroway and her team theorize that this would have been the first signal strong enough to leave Earth's ionosphere, reach all the way to Vega, and then be transmitted back.
1131. </p><p dir="ltr">
1132. This doesn’t make the government feel secure, so they lock the project down. Arroway finds that the signal also contains more than 63,000 pages of indecipherable data as well. They’re instructions to build something. Our strange billionaire Hadden secretly meets with Arroway to provide the means to decode the pages to her. The pages reveal schematics for a complex machine that is determined to be some kind of transport for a single occupant to somewhere undefined.
1133. </p><p dir="ltr">
1134. It’s there we again meet the now Christian philosopher Palmer Joss. He and Arroway are still very flirty. But his faith and her science keep them apart. Meanwhile, we get brief glimpses into Arroway’s past. We learn her father died tragically when she was nine years old and that she never knew her mother. This journey she’s on now is her constant search to know she’s not actually alone.
1135. </p><p dir="ltr">
1136. The world becomes obsessed with the project and multiple nations chip in to fund the construction of the machine at the Kennedy Space Center in Cape Canaveral. In order to pick who goes into the contraption, an international panel is assembled to choose a candidate to travel in the machine.
1137. </p><p dir="ltr">
1138. Although Arroway is a frontrunner to go, Palmer Joss is on the panel, and he brings attention to her atheism. The panel selects Drumlin as more representative of humanity—a crushing blow to Arroaway. But when the machine is first tested, a religious terrorist destroys the machine in a suicide bombing, killing Drumlin and several others. All is lost, and it looks like they’ll never be able to see what the machine the aliens sent would do.
1139. </p><p dir="ltr">
1140. Billionaire Hadden is now in residence on the MIR space station. We learn that he is dying of cancer. He tells Arroway that the U.S. government had contracted with his company to secretly build another second machine in Japan. He’s asked that Arroway be the one to go and take the trip. She’s flown to Japan and prepped for the journey. They send her with an array of recording devices. The machine begins to spin and fall. It is dropped into three rapidly spinning gimbaled rings, causing the pod to apparently travel through a series of wormholes.
1141. </p><p dir="ltr">
1142. Arroway sees a radio array-like structure at Vega and signs of an advanced civilization on another distant planet. She then finds herself on a beach, similar to a childhood picture she drew of Pensacola, Florida. A figure approaches that becomes her deceased father. Arroway recognizes him as an alien taking her father's form and attempts to ask questions. The alien tells her that they are making her first contact easier for her and that this journey was just humanity's first step to joining other spacefaring species.
1143. </p><p dir="ltr">
1144. They tell her they’ll be in touch and then Arroway falls unconscious as she begins traveling back through a wormhole. When she wakes up, she’s on the floor of the pod, the mission control team repeatedly hailing her. She learns that the pod merely dropped through the machine's rings and landed in a safety net. For them, it only lasted seconds. But for her, it was hours. Her recording devices only captured static.
1145. </p><p dir="ltr">
1146. There is a Congressional committee. They tell Arroway that they think the machine was a hoax designed by the now-deceased Hadden. But she’s certain it was not. Arroway asks the committee to accept the truth of her testimony on faith, as inspired by Palmer Joss, who sits in the audience. In a private conversation, Kitz and a White House official talk about unreleased confidential information that Arroway's recording device recorded static for 18 hours—proving she may have gone somewhere.
1147. </p><p dir="ltr">
1148. Arroway and Joss reunite, and a future romance is promised. Arroway receives ongoing financial support at the VLA. And she awaits the next message from Vega.
1149. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="f3018416a5180275a9af8327625f71f3" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ikQZbqP8-1s?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 id="Is+the+movie+Contact+based+on+a+true+story+" name="Is+the+movie+Contact+based+on+a+true+story+">
1150. Is the movie <em>Contact</em> based on a true story?
1151. </h3><p>
1152. This movie is not based on a true story, although a lot of people on the internet seem to be Googling this fact. It's based on a book by Carl Sagan, where he theorized what would happen if we received messages from another planet.
1153. </p><h3 id="How+did+Contact+become+a+movie++" name="How+did+Contact+become+a+movie++">
1154. How did <em>Contact</em> become a movie?
1155. </h3><p>
1156. Sagan was tossing this idea around in the 1970s. He pitches the idea to a movie producer friend, who told him to write the screenplay. Sagan wound up writing a movie treatment and then turning it into a book.
1157. </p><p>
1158. From there, the idea was purchased and developed, with Sagan then incorporating more modern science in the screenplay. The script was caught in turnaround, with many writers and directors taking a stab at the story. Eventually, Robert Zemeckis came onto the project. Warner Brothers gave him final cut and total artistic control. Sagan remained with the project as an advisor.
1159. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="1025d9ed2511887210850111bff0eb56" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/WDrZbEGQrQ4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr" id="The+Contact+movie+wormhole" name="The+Contact+movie+wormhole">
1160. The <em>Contact</em> movie wormhole
1161. </h3><p dir="ltr">
1162. The wormhole in the movie was an addition Sagan added after reading a paper from theoretical physicist <a href="https://en.wikipedia.org/wiki/Kip_Thorne" target="_blank">Kip Thorn</a>. Weta Digital was responsible for designing the <a href="https://en.wikipedia.org/wiki/Wormhole" target="_blank" title="Wormhole">wormhole</a> sequence in the movie so that it felt realistic and fit with the rest of the authenticity of the rest of the film.
1163. </p><h3 dir="ltr" id="The+Contact+movie+ending" name="The+Contact+movie+ending">
1164. The <em>Contact</em> movie ending
1165. </h3><p dir="ltr">
1166. So let's talk about the ending of this movie. It's a real gut punch. You find Ellie basically on trial, with the whole world divided on whether or not they believe she traveled to Vega. Then we get the big reveal that her audio devices actually did record many hours of static, proving she went somewhere, even if we couldn't hear anything on the recording.
1167. </p><p dir="ltr">
1168. The movie also leaves Ellie Arroway back where she began, listening for that next message. This is all in direct contrast to how the book ended.
1169. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e9422a34e10071c578e6294c7a259be9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/scBY3cVyeyA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr" id="The+Contact+book+ending" name="The+Contact+book+ending">
1170. The <em>Contact</em> book ending
1171. </h3><p dir="ltr">
1172. At the <a href="https://academic.depauw.edu/aevans_web/HONR101-02/WebPages/Fall%202007/Craig/Contact%20Website/Pages/summary.html#:~:text=The%20story%20ends%20with%20Ellie,A%20new%20Message%20is%20discovered." target="_blank">end of the book</a>, Ellie discovers that the silence recorded in her camera actually is filled with 1s and 0s. She works on it and decodes a new message. So even after being told she was crazy, she has tangible proof that she communicated with the aliens.
1173. </p><p dir="ltr">
1174. While we don't know what the next message says, Ellie is equipped with the knowledge that she's not crazy.
1175. </p><h3 dir="ltr" id="The+Contact+book+vs++movie+ending+analysis" name="The+Contact+book+vs++movie+ending+analysis">
1176. The <em>Contact</em> book vs. movie ending analysis
1177. </h3><p dir="ltr">
1178. I think the movie ending really pushes the themes of faith a little further than the book. The movie still shows Ellie Arroway as someone who believes in science, but her character arc lets her bend into having to have faith as well. While I love the idea that the message from Vega is delivered instantaneously, I do like the idea that Arroaway is left waiting at the end of the movie, putting her life back to the work she believes in.
1179. </p><p dir="ltr">
1180. For me, the movie takes us on a more complete emotional journey. Let's analyze that a little further.
1181. </p><h3 dir="ltr" id="The+Contact+movie+analysis" name="The+Contact+movie+analysis">
1182. The <em>Contact</em> movie analysis
1183. </h3><p dir="ltr">
1184. This is a movie about science versus faith. It puts them to the ultimate test and really digs into a low-key version of the alien narrative. We've seen other movies bring aliens to earth in a much noisier and high-concept way. This is super grounded, and at its heart it pushes the idea of what could actually happen if we made first contact. The movie also is not afraid to be a real character study of Ellie Arroway.
1185. </p><p dir="ltr">
1186. Ellie is effectively a woman alone in the universe. She never met her mother, and her dad passed away when she was nine. She's been searching for a long time, talking to the stars, and looking for answers. Her answers come, and she's immediately met by skeptics. They hold her back because they refuse to believe in her experience, because she doesn't conform to their ideas, and because life is not fair.
1187. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="232ca13e7cefe90fa8850a1c8f0fb65d" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8CiG9Wgvyj0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr" id="The+Contact+movie+themes+" name="The+Contact+movie+themes+">
1188. The <em>Contact</em> movie themes
1189. </h3><p dir="ltr">
1190. What sets this story apart for me is how deep the themes of the movie are and how much the filmmaking accentuates that. This movie could have been too heady or just full of science that might be interesting as facts, but not as entertainment. Instead, as we talked about earlier, the characters and arcs actually make this film stand out.
1191. </p><p dir="ltr">
1192. Thematically, the ideas of science and faith run throughout the film. Certainly, the debate on the existence of God, strict adherence to facts, and the idea of finding indelible proof play huge roles.
1193. </p><h3 dir="ltr" id="What+makes+this+movie+great++" name="What+makes+this+movie+great++">
1194. What makes this movie great?
1195. </h3><p dir="ltr">
1196. At the end of the day, what sets <em>Contact</em> above and beyond other movies is how much care and attention were put into every detail of its storytelling. Zemeckis' direction is fearless, and the cinematography in this movie is also excellent. We're constantly seeing a world stacked against the main character, who never folds, but often feels the walls closing in. While there are even some coincidences, everything plays into the idea that things happen, and we have to take information as it comes.
1197. </p><p dir="ltr">
1198. But that's just my take—I want to know what you think in the comments.
1199. </p>]]></description><pubDate>Fri, 03 May 2024 14:05:00 +0000</pubDate><guid>https://nofilmschool.com/contact-movie</guid><category>Jodie foster</category><category>Carl sagan</category><category>Robert zemeckis</category><category>Contact</category><category>Movie ending</category><category>Endings</category><category>Science fiction</category><category>Adaptation</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-contact-movie-explained-what-does-the-ending-mean.jpg?id=34053149&amp;width=980"></media:content></item><item><title>The Ending of 'Challengers' Explained</title><link>https://nofilmschool.com/challengers-ending-explained</link><description><![CDATA[
1200. <img src="https://nofilmschool.com/media-library/challengers.webp?id=52168117&width=1200&height=800&coordinates=0%2C0%2C0%2C1"/><br/><br/><p>For a little over two hours, I was glued to my seat in the AMC Century City, fascinated and entralled in the world of the tennis <a data-linked-post="2661196571" href="https://nofilmschool.com/drama-genre" target="_blank">drama</a> <em>Challengers. </em></p><p>This masterful movie, directed by Luca Guadagnino and starring Zendaya, Mike Faist, and Josh O'Connor, is sexy, unflinching, and leaves audiences pondering its final moments. </p><p>The film, filled with flashbacks and unspoken emotions, culminates in a high-stakes match between childhood friends Art and Patrick, vying for a win that transcends the scoreboard. But the true victory, the movie suggests, lies elsewhere.</p><p>Let's explore. </p><p style="text-align: center;"><strong>Spoilers for the movie <em>Challengers</em> to come...</strong></p><hr/><h3>Challengers Movie Summary</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="6c09aaae7bc964544011a6514021ca3b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-2N3hmRmwHQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>In the movie <em>Challengers</em>, Tashi, a former tennis star turned coach, sees her husband Art, a once-dominant professional player, sinking into a slump. </p><p>Seeking to restore his fire, she enters him in a low-level "Challenger" tournament, expecting easy wins. However, her plan unravels when Art faces his estranged childhood friend and Tashi's ex-boyfriend, Patrick, whose own career has fizzled into mediocrity. </p><p>This unexpected reunion throws the trio's intertwined past into stark relief, revealing a history of intense friendship, youthful ambition, romantic entanglements, and unspoken betrayals.</p><p>As flashbacks weave through the present, <em>Challengers</em> explores the fragility of male friendship, particularly when fueled by competition, ambition, and a shared love for the same woman. </p><p>These flashbacks also expose the sacrifices Tashi made when her promising tennis career was cut short by injury. And how Art took care of her, and married her. But her passion for Patrick still burned hot, and their love triangle got even more complicated. </p><p>The focus of the film culminates in the climactic match between Art and Patrick. This battle transcends sport—it becomes a raw, physical confrontation with a past they cannot outrun.</p><p>In the final frames, they're playing a tie breaker, going back and forth. </p><p>So what happens next? </p><h3>Challengers Ending Explained</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="64fec17285013c6c2d91abf6c98789d6" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/V1V5BgI3fr4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Director Luca Guadagnino opts for an ambiguous ending, leaving the final point of the match unseen. </p><p>Art, fueled by a revelation of past betrayal, unleashes his fury on the court.</p><p> Patrick, seeking redemption, battles back. </p><p>The tension reaches a fever pitch as Art lunges for a final shot, colliding with Patrick in a tangle of limbs as he dives over the actual net and into his arms. </p><p>This isn't just a tennis maneuver; it's a physical manifestation of their complex bond. </p><p>And it <a data-linked-post="2662279776" href="https://nofilmschool.com/symbolism-film-and-tv-definition-and-examples" target="_blank">symbolizes</a> the reuniting of their friendship. </p><p>Their embrace is open to interpretation, but my take is that it hints at a long-awaited forgiveness. Art and Patrick, despite years of estrangement, may be rediscovering a connection forged on the tennis courts of their youth.</p><p>Of course, this could be more complicated since Tashi has recently slept with Patrick, but maybe not. </p><p>Tashi adds another layer to the ending. Is her enthusiastic cheer a sign of renewed passion for the game, or is it fueled by the raw emotion displayed on the court? </p><p>Her future with Art remains uncertain. She respects him as a father but wants him to want to be a tennis player, the thing that was taken away from her. </p><p>In the final scene, they are finally communicating, not with words, but through the language of the game that brought them together.</p><p>Whether Art emerges victorious, or Patrick claims his comeback, is ultimately irrelevant. The ending of <em>Challengers</em> is a dance of forgiveness, a tentative step towards healing old wounds. And perhaps, that's the most satisfying victory of all.</p><p>Guadagnino told <a href="https://ew.com/challengers-ending-explained-luca-guadagnino-zendaya-mike-faist-josh-o-connor-8639336" target="_blank"><em>Entertainment Weekly</em></a>  he kept the winner ambiguous on purpose: "I needed to get this very, very visually amped up and really immersed for the audience to understand how much it meant for them not to win over the other, but to be back together, all of them." </p><p>The question of which guy Tashi chooses at the end is also on the audience's mind. </p><p>Writer of the movie <a data-linked-post="2667896126" href="https://nofilmschool.com/challengers-podcast" target="_blank">Justin Kuritzkes</a> told <a href="https://www.indiewire.com/news/general-news/challengers-ending-explained-zendaya-confusing-1234978774/" target="_blank"><em>Indie Wire</em></a> “I chose to end the movie where I ended the movie, and I chose to end it there because for me, the movie is over. For me, what’s going on with these people has resolved in some way that’s satisfying enough for me. And I always want to start a movie as late as possible and end a movie as early as possible. So for me, I got what I needed by then, and I feel like they did too.”</p><p class=""><em>Challengers</em> is a film that lingers, like the echo of a well-struck ball. It doesn't offer easy answers, preferring to explore the complexities of human connection and the weight of the past. </p><p>Whether Art or Patrick ultimately triumphed on the court is less important than the journey they took to reach that point, a journey that may forever change the dynamics of their tangled relationship with Tashi.</p><p>Is tennis the ultimate key to forgiveness? Let me know what you think in the comments. </p>]]></description><pubDate>Fri, 03 May 2024 14:03:03 +0000</pubDate><guid>https://nofilmschool.com/challengers-ending-explained</guid><category>Challengers ending explained</category><category>Josh o'connor</category><category>Luca guadagnino</category><category>Mike faist</category><category>Zendaya</category><category>Challengers</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/challengers.webp?id=52168117&amp;width=980"></media:content></item><item><title>Paul Schrader's 1-Page Outline for 'The Mosquito Coast' Is Bonkers </title><link>https://nofilmschool.com/paul-schrader-outline</link><description><![CDATA[
1201. <img src="https://nofilmschool.com/media-library/paul-schrader-s-1-page-outline-for-the-mosquito-coast.jpg?id=34053591&width=1200&height=800&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>
1202. <span>We all know writing a screenplay is incredibly hard. While it gets easier as you go, every story is a new battle. When I sit down to write, I chase </span><a href="/film-treatment">treatments</a><span>, beat sheets, and </span><a href="/tag/outline">outlines</a>. <span>A screenplay outline helps you organize your thoughts and the </span><a href="/beat-sheet-template">beats of the story</a>, giving you some direction as you move forward. 
1203. </p>
1204. <p>
1205. But you don't have to take my word for it. 
1206. </p>
1207. <p>
1208. Recently, writer <a href="/Paul-schrader-interview-podcast">Paul Schrader</a>'s outline for <em>The Mosquito Coast</em> surfaced. It's a one-page list of the scenes in order. Some are crossed out, I think meaning he was writing them and checking them off the list as he went. 
1209. </p>
1210. <p>
1211. </p><p><img alt="Fp_zn7zxwaiscgm" class="rm-shortcode" data-rm-shortcode-id="7ae2a2294a27d837ddd084447d9cf912" data-rm-shortcode-name="rebelmouse-image" id="9020e" loading="lazy" src="https://nofilmschool.com/media-library/fp-zn7zxwaiscgm.jpg?id=34053592&width=980"/></p><p></p>
1212. <p>
1213.  
1214. </p><p>
1215. The plot of the movie is about a handyman d<span>isgusted with modern civilization who sets off to the Mosquito Coast of Central America to found his own society. </span>The movie would go on to be directed by <a href="/master-and-commander-russell-crowe-twitter">Peter Weir</a> as his follow-up to <em>Witness</em>. While it didn't do great at the box office or with critics, it still has its fans. And I think it's really interesting to see how Schrader listed out his scenes. 
1216. </p>
1217. <p></p>
1218. <p>
1219. Let me know what you think in the comments.  
1220. </p>]]></description><pubDate>Fri, 03 May 2024 13:16:00 +0000</pubDate><guid>https://nofilmschool.com/paul-schrader-outline</guid><category>Paul schrader</category><category>The mosquito coast</category><category>Script outline</category><category>Beat sheet</category><category>Screenwriting</category><category>Peter weir</category><category>Outline</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/paul-schrader-s-1-page-outline-for-the-mosquito-coast.jpg?id=34053591&amp;width=980"></media:content></item><item><title>What Is a "Mary Sue"?</title><link>https://nofilmschool.com/what-is-a-mary-sue</link><description><![CDATA[
1221. <img src="https://nofilmschool.com/media-library/what-is-a-mary-sue-character-type-definition-and-examples.png?id=34051621&width=1200&height=800&coordinates=0%2C0%2C200%2C0"/><br/><br/><p>
1222. One of the most irritating things in movies and TV is when a character can just do things to get themselves out of trouble. They have no training, but they can fight like a warrior. They're not stunt drivers, but can handle a car better than professionals. We call these characters a "<a href="https://tvtropes.org/pmwiki/pmwiki.php/Main/MarySue" target="_blank">Mary Sue</a>." And there's a specific reason we call her that type of character.
1223. </p><p>
1224. Of course, there's a complicated history around this term. People have used it incorrectly (and in sexist ways) so much, we thought it was time actually to define what a "Mary Sue" means. We're going to go over examples, look at the term's origin, and even see how you can avoid writing them.
1225. </p><p>
1226. So, if you're in the mood for a Mary Sue analysis, you're in the right place.
1227. </p><p>
1228. Let's get started. </p><hr id="hr-toc" name="tableOfContents"/><h2 id="What+is+a++Mary+Sue++Character+Type++Definition+and+Examples+" name="What+is+a++Mary+Sue++Character+Type++Definition+and+Examples+">
1229. What Is a "Mary Sue"?</h2><p>
1230. A few years ago, there was this big online conversation about Rey from <em>Star Wars: The Force Awakens</em> being a Mary Sue (led by a moron).
1231. </p><p>
1232. It was the first time I had heard the word. And I genuinely had hoped it went away after because I feel like when people use it, they don't approach it with nuance and the writer's intent. But that's what we are going to try to do today.
1233. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Mary Sue Character Type Definition " class="rm-shortcode" data-rm-shortcode-id="5730c2765013a6e01481167be237fc4a" data-rm-shortcode-name="rebelmouse-image" id="2447e" loading="lazy" src="https://nofilmschool.com/media-library/mary-sue-character-type-definition.jpg?id=34051622&width=980"/>
1234. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Star Wars: The Force Awakens'</small>
1235. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Disney</small></p><h2 id="Mary+Sue+Character+Type+Definition+" name="Mary+Sue+Character+Type+Definition+">
1236. Mary Sue Character Type Definition
1237. </h2><p>
1238. A Mary Sue is a type of fictional character, usually a young woman, who is portrayed as free of weaknesses without the support of training or inherent skills. A Mary Sue usually never fails at what she attempts. It can also be an author-insert character used for wish fulfillment (meaning it's a non-canon character).
1239. </p><p>
1240. The male version of a Mary Sue is often called a Gary Stu, Gary Sue, or a Marty Stu.
1241. </p><h2 id="Mary+Sue+Character+Type+Origins+" name="Mary+Sue+Character+Type+Origins+">
1242. Mary Sue Character Type Origins
1243. </h2><p>
1244. Where does Mary Sue come from? Well, this<a href="/12-character-archetypes-for-your-screenplay"> character archetype</a> has its root in a fun, non-canon story from <em>Star Trek</em>. It's the name of a character created by Paula Smith in 1973 in the fanfiction story "A Trekkie's Tale." It was a parody that actually got published in Smith's and Sharon Ferraro's <em>Star Trek </em>magazine, <em>Menagerie</em>. The story featured Lieutenant Mary Sue, who was the youngest lieutenant in the fleet at only 15 and a half years old. It was told as a satire of female characters widespread in <em>Star Trek</em> fan fiction.
1245. </p><p>
1246. You can read the full short story below.
1247. </p><blockquote class="templatequote">
1248.  
1249. "Gee, golly, gosh, gloriosky," thought Mary Sue as she stepped on the bridge of the Enterprise. "Here I am, the youngest lieutenant in the fleet—only fifteen and a half years old." Captain Kirk came up to her. "Oh, Lieutenant, I love you madly. Will you come to bed with me?"
1250. <br/>
1251.  
1252. "Captain! I am not that kind of girl!"
1253. <br/>
1254.  
1255. "You're right, and I respect you for it. Here, take over the ship for a minute while I go get some coffee for us."
1256. <br/>
1257.  
1258. Mr. Spock came onto the bridge. "What are you doing in the command seat, Lieutenant?"
1259. <br/>
1260.  
1261. "The Captain told me to."
1262. <br/>
1263.  
1264. "Flawlessly logical. I admire your mind."
1265. <br/>
1266.  
1267. Captain Kirk, Mr. Spock, Dr. McCoy and Mr. Scott beamed down with Lt. Mary Sue to Rigel XXXVII. They were attacked by green androids and thrown into prison. In a moment of weakness Lt. Mary Sue revealed to Mr. Spock that she too was half Vulcan. Recovering quickly, she sprung the lock with her hairpin and they all got away back to the ship.
1268. <br/>
1269.  
1270. But back on board, Dr. McCoy and Lt. Mary Sue found out that the men who had beamed down were seriously stricken by the jumping cold robbies, Mary Sue less so. While the four officers languished in Sick Bay, Lt. Mary Sue ran the ship, and ran it so well she received the Nobel Peace Prize, the Vulcan Order of Gallantry and the Tralfamadorian Order of Good Guyhood.
1271. <br/>
1272.  
1273. However the disease finally got to her and she fell fatally ill. In the Sick Bay as she breathed her last, she was surrounded by Captain Kirk, Mr. Spock, Dr. McCoy, and Mr. Scott, all weeping unashamedly at the loss of her beautiful youth and youthful beauty, intelligence, capability and all around niceness. Even to this day her birthday is a national holiday on the Enterprise.
1274. </blockquote><h2 id="" name="">
1275. </h2><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Mary Sue Analysis" class="rm-shortcode" data-rm-shortcode-id="14aa0b3ccb4c0ef49e40f62d0505d4ec" data-rm-shortcode-name="rebelmouse-image" id="c9c61" loading="lazy" src="https://nofilmschool.com/media-library/mary-sue-analysis.jpg?id=34051624&width=980"/>
1276. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Star Trek: Into Darkness'</small>
1277. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount Pictures</small></p><h2 id="Mary+Sue+Analysis+" name="Mary+Sue+Analysis+">
1278. Mary Sue Analysis
1279. </h2><p>
1280. The reason people get upset by these characters is that they feel underwritten and lazy. If a character is just inherently good at everything, how will we see them grow or <a href="/Character-arc-definition-and-examples">arc</a> as a person?
1281. </p><p>
1282. Many people have debated whether or not the idea of a Mary Sue is actually based in a sexist notion or standard not held to male characters. After all, people like James Bond seem to know how to do everything, and we just kind of say it's because he's a "spy."
1283. </p><p>
1284. <a href="https://www.salon.com/2015/12/23/star_wars_doesnt_have_a_heroine_problem_arguing_over_whether_reys_a_mary_sue_is_missing_the_point/" target="_blank"><em>Salon </em>wrote in 2015</a>, “The term <em>Mary Sue</em> is rooted in a long history of dismissing female characters and holding them to absurd double standards.”
1285. </p><p>
1286. Still, there's an argument to be made for actually creating a character with depth and intention. Writers work hard to craft certain people in screenplays. They should work to craft everyone. Give them a story and some reasoning behind what they can do.
1287. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Are There Exceptions to the Mary Sue Character Type Rule?" class="rm-shortcode" data-rm-shortcode-id="99b9a7b52b2d508bb1a19405e3d3fe2f" data-rm-shortcode-name="rebelmouse-image" id="3eb75" loading="lazy" src="https://nofilmschool.com/media-library/are-there-exceptions-to-the-mary-sue-character-type-rule.jpg?id=34051623&width=980"/>
1288. <small class="image-media media-caption" placeholder="Add Photo Caption...">'No Time to Die'</small>
1289. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: MGM</small></p><h2 id="Are+There+Exemptions+to+the+Mary+Sue+Character+Type+Rule++" name="Are+There+Exemptions+to+the+Mary+Sue+Character+Type+Rule++">
1290. Are There Exceptions to the Mary Sue Character Type Rule?
1291. </h2><p>
1292. While many people argue that Mary Sues are not a thing in film and TV, I think the answer lies more in the idea that in some escapist genres, the audience is more likely to believe in a character able to do fantastic things.
1293. </p><p>
1294. Like in superhero tales, we're going to believe someone with powers can fight and save the day. Or in romances, we tend to buy into anything that keeps the love story going. Finally, in fairy tales, we're much more willing to suspend disbelief when Fiona can do kung-fu or Legolas can shoot every orc with an arrow.  
1295. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Mary Sue Character Type Examples in Film and TV" class="rm-shortcode" data-rm-shortcode-id="623551cf82611926cef92a73e08624d0" data-rm-shortcode-name="rebelmouse-image" id="292b7" loading="lazy" src="https://nofilmschool.com/media-library/mary-sue-character-type-examples-in-film-and-tv.jpg?id=34051625&width=980"/>
1296. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Wonder Woman 1984'</small>
1297. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Bros.</small></p><h2 id="Mary+Sue+Character+Type+Examples+in+Film+and+TV+" name="Mary+Sue+Character+Type+Examples+in+Film+and+TV+">
1298. Mary Sue Character Type Examples in Film and TV
1299. </h2><p>
1300. The Mary Sue trope is prevalent across all mediums of storytelling. While it usually applies to female characters, we should talk about Gary Stu/Marty Stu here as well, since I think all the same rules apply, and separating because of sex is kind of dumb. An underwritten fictional character is bad no matter who plays them in a movie.  
1301. </p><p>
1302. First up, I want to talk about the character Anastasia from <em>50 Shades of Grey</em>. She was written as a character in a <em>Twilight</em> fan fiction, which was then expanded into the popular book and movie.
1303. </p><p>
1304. So she fits one mode of the definition as an author-inserted fantasy. And when you look at Bella from <em>Twilight</em> she seems to fit the other mode. She's good at everything without real weakness. Everyone loves her and wants to protect her. She has harmless quirks like being clumsy. And her boyfriend Edward is a Gary Stu, great at everything based solely on being alive for a long time. I refuse to believe all vampires would be that good at baseball.
1305. </p><p>
1306. I am a big fan of characters who earn their wins, instead of inherently coming with them. But that's not always the case in film and TV. Many people think that Mary Sue aligns with the "chosen one" character trope. So we think of people like Harry Potter, who is born with talents and powers he didn't earn.
1307. </p><p>
1308. Think about someone like Tris in the <em>Divergent</em> books and movies. She was just born with many talents and leads a rebellion. She has to learn some skills, but the question of what's earned is a valid one.
1309. </p><p>
1310. There will <em>always</em> be debates over who is a Mary Sue and who is not. The goal is to imbue your characters with enough detail and story that the audience follows them on their journey and cares about them as they progress through their arc.
1311. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="What is a 'Mary Sue' " class="rm-shortcode" data-rm-shortcode-id="9ea5e93dafd7f76739931f8865235351" data-rm-shortcode-name="rebelmouse-image" id="8e30f" loading="lazy" src="https://nofilmschool.com/media-library/what-is-a-mary-sue.jpg?id=34051626&width=980"/>
1312. <small class="image-media media-caption" placeholder="Add Photo Caption...">'50 Shades Freed'</small>
1313. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Universal Pictures</small></p><h2 id="Summing+Up+What+is+a++Mary+Sue++Character+Type++Definition+and+Examples+" name="Summing+Up+What+is+a++Mary+Sue++Character+Type++Definition+and+Examples+">
1314. Summing Up "What Is a 'Mary Sue' Character Type?" (Definition and Examples)
1315. </h2><p>
1316. Now that you know all about the Mary Sue trope, it's time to go write the best fictional characters in general. Whether that's <em>Star Trek</em> fanfiction or in the <em>Harry Potter</em> universe, the term "Mary Sue" has become a bit of a controversial one.
1317. </p><p>
1318. While knowing what it means matters, what matters more is making sure your characters are not poorly written. Whether it's a male character or a female character, put the effort in and make the audience respond.
1319. </p><p>
1320. Now go get writing.
1321. </p>]]></description><pubDate>Thu, 02 May 2024 16:50:46 +0000</pubDate><guid>https://nofilmschool.com/what-is-a-mary-sue</guid><category>Trope examples</category><category>Tropes</category><category>Trekkie</category><category>Fan fiction</category><category>Female action hero</category><category>Female character</category><category>Mary sue</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/what-is-a-mary-sue-character-type-definition-and-examples.png?id=34051621&amp;width=980"></media:content></item><item><title>What Should Be In Every Scene You Write? </title><link>https://nofilmschool.com/what-should-be-in-every-scene-you-write</link><description><![CDATA[
1322. <img src="https://nofilmschool.com/media-library/what-should-be-in-every-scene-you-write.jpg?id=34059982&width=1200&height=800&coordinates=88%2C0%2C0%2C0"/><br/><br/><p>
1323. Scenes: they're the backbone of every story, whether it be TV, film, or even on the stage. Scenes build on one another and create a world, a vision, and take people on a journey.
1324. </p><p>
1325. But how do you write a scene? And what should be in every scene?
1326. </p><p>
1327. Check out this video from <a class="yt-simple-endpoint style-scope yt-formatted-string" dir="auto" href="https://www.youtube.com/channel/UCFnskmQu5NjjJ2rooCSF7tw" spellcheck="false" target="_blank">Tyler Mowery</a> and let's talk after the jump.
1328. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="918d2429347ca8fda21fee17338fa4f8" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/80eBNS15bKA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
1329. What Should Be In Every Scene You Write?
1330. </h2><p>
1331. This is a fun video that I think offers a few different perspectives, but at the end of the day, every scene needs to have one thing: drama.
1332. </p><p>
1333. Does your character have a goal in the scene? What's standing in their way?
1334. </p><p>
1335. That's it. That's the center of every scene.
1336. </p><p>
1337. Drama is the perils that your characters will face in order to achieve their goal. Those perils can make us laugh, they can be thrilling, they can be emotional.
1338. </p><p>
1339. But without drama, you're not building a story. You're just boring us.
1340. </p><p>
1341. So how can you add drama to scenes?
1342. </p><p>
1343. Well, there can be a tangible goal, like getting the gold statue out of the temple. That works, but a lot of times we want something intangible in our scenes. Think about a detective trying to pry clues or exposition from someone—that can be used for plot, character development, and story.
1344. </p><p>
1345. How can you make that dramatic?
1346. </p><p>
1347. Sometimes you have to make the intangible into something tangible. Think about this scene from <em>Boardwalk Empire</em>. </p><p class="shortcode-media shortcode-media-youtube">
1348. <span class="rm-shortcode" data-rm-shortcode-id="508e6abc42ef2aa9be511d8ee24163b9" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aMkHCAAGBtc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
1349. <small class="image-media media-caption" placeholder="Add Photo Caption...">Boardwalk Empire | Dinner with the Boys and Big Jim Colosimo</small>
1350. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
1351. <a href="https://www.youtube.com/watch?v=aMkHCAAGBtc" target="_blank">www.youtube.com</a>
1352. </small>
1353. </p><p>
1354. Nucky shows up and wants respect. That's taken in the form of his wife's dinner order. The guys who have the respect (his adversaries) have the dinner order she wants, lobster. So he goes over and denies it to them.
1355. </p><p>
1356. His action provides the drama and something tangible to suss out the intangibles.
1357. </p><p>
1358. And it gives us a story to build on, as he continues his quest to control Atlantic City.
1359. </p><p>
1360. Make sense?
1361. </p><p>
1362. The biggest pratfall I see from younger writers are scenes that have no conflict. People come in and out of doors and espouse facts, then go on their way. We need to see what stands in their way both tangibly and intangibly if we want to really be a part of the story.
1363. </p><p>
1364. Got questions or ideas?
1365. </p><p>
1366. Put them in the comments.
1367. </p><h2>
1368. What's next? <a href="/how-write-screenplay-during-quarantine-free-ebook">Get our free screenwriting eBook</a>!
1369. </h2><p>
1370. So much of what we're talking about on No Film School when it comes to screenwriting is summarized in our new eBook. It also helps guide you through a 10-week writing plan that will get your script actually finished.
1371. </p><p>Source: <a href="https://www.youtube.com/watch?v=80eBNS15bKA">Tyler Mowery</a></p>]]></description><pubDate>Thu, 02 May 2024 16:48:47 +0000</pubDate><guid>https://nofilmschool.com/what-should-be-in-every-scene-you-write</guid><category>Scene</category><category>Scene analysis</category><category>Scene description</category><category>Screenwriting</category><category>Screenwriting advice</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-should-be-in-every-scene-you-write.jpg?id=34059982&amp;width=980"></media:content></item><item><title>The Best Erotic Thriller Movies</title><link>https://nofilmschool.com/erotic-thriller-movies</link><description><![CDATA[
1372. <img src="https://nofilmschool.com/media-library/best-erotic-thriller-movies-genre.jpg?id=34055936&width=1200&height=800&coordinates=200%2C0%2C0%2C0"/><br/><br/><p>
1373. Are you a fan of lighting a candle, pouring a glass of wine, dimming the lights, and turning on an adult erotic thriller movie? There's something about taking time out of your day to watch a sensual movie that feels like you're being bad... in a good way.
1374. </p><p>
1375. While these movies don't get as much focus now, they used to be event movies. Parents would get babysitters and head out to the theater, ready for a night away from their kids and a night to rekindle their connection... also, maybe murder? (Yup, a lot of these movies have murders in them, as well.)
1376. </p><p>
1377. While erotic <a href="/thriller-genre-in-movies-and-tv-shows">thrillers</a> are still made, they are not as popular of a genre right now. But that means they're primed for a comeback. Hollywood moves in cycles, and your next script or film could be the one that sets off the domino effect.</p><p> If you want to work on a sexy thriller, you need to understand the tropes, know the best movies that came before you, and tap into all that erotic suspense for your characters and storytelling.
1378. </p><p>
1379. Let's dig into the genre together and figure out what makes erotic thrillers so... steamy.
1380. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="82657df7a813d153b32be05d6ddd346f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/enb_IQGKFdU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
1381. What the Best Erotic Thriller Movies Teach Us About the Genre
1382. </h2><p>
1383. In his book <a href="https://www.amazon.com/Hollywoods-Dark-Cinema-American-Filmmakers/dp/0805793356" target="_blank"><em>Hollywood’s Dark Cinema: The American Film Noir</em></a>, Robert Barton Palmer wrote “perhaps the most popular genre in the 1990s, the so-called erotic thriller [...] is a direct descendant of the classic film noir.” If noir was where the erotic thriller is born, we have now had decades where it could become fully formed in our world.
1384. </p><p>
1385. Steamy thrillers come from the thriller genre, and usually have elements of suspense and even mystery. The best erotic thrillers can capture everything we love about the thriller genre while also turning us on.
1386. </p><p>
1387. They have to be sexy!
1388. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Erotic Thriller Definition " class="rm-shortcode" data-rm-shortcode-id="e5fa3e2caa1afceb1dfd90c32294e6f1" data-rm-shortcode-name="rebelmouse-image" id="a7cd6" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller-definition.jpg?id=34055938&width=980"/>
1389. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Indecent Proposal'</small>
1390. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount</small></p><h3 dir="ltr">
1391. <strong>Erotic Thriller Definition </strong>
1392. </h3><p dir="ltr">
1393. The erotic thriller is the intersection between romance, softcore sex film, and thriller. The erotic thriller movie is a subgenre of thrillers. It's defined by its fantasy element and illicit romantic escapades.
1394. </p><p dir="ltr">
1395. These types of films usually contain scenes of softcore sexuality, some nudity, and erotic acts.
1396. </p><p dir="ltr">
1397. While the level of explicitness varies, these films are built around sex, and usually have sex central to the plot.
1398. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Erotic Thriller Tropes " class="rm-shortcode" data-rm-shortcode-id="0f332c04ff8805005c6151415cb21e3b" data-rm-shortcode-name="rebelmouse-image" id="cd591" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller-tropes.png?id=34055939&width=980"/>
1399. <small class="image-media media-caption" placeholder="Add Photo Caption...">Wikipedia's Diagram of Ertoic Thrillers</small>
1400. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Deanbrockton</small></p><h3 dir="ltr">
1401. Erotic Thriller Tropes
1402. </h3><p dir="ltr">
1403. When you turn on one of the top erotic thrillers, you expect to see some sexuality and nudity. They don't<em> have to</em> be in there. But it definitely is a <a href="/tv-and-movie-trope-examples">trope</a>. Usually, you find sexual tension between the two leads. This tension can lead to manipulation, foul play, and the occasional sex scene. Affairs, conspiring to kill a spouse, obsessive characters, and even the use of sexy Venetian blinds all play a big part in this subgenre.
1404. </p><p dir="ltr">
1405. Risque content is what drove this genre to be incredibly popular in the 80s and 90s. In fact, it's estimated that almost 300 erotic thriller films were made in the 1990s alone.
1406. </p><p dir="ltr">
1407. But it's not just sex that sells. There's also the thriller aspect you have to honor. Are there scenes of danger, murder, or suspense? Then how do you weave sexiness into the storyline? There should be an element of romance as well.
1408. </p><p dir="ltr">
1409. Nina K. Martin says in <em><a href="https://smile.amazon.com/Sexy-Thrills-Undressing-Erotic-Thriller/dp/0252031954/ref=sr_1_1?dchild=1&keywords=Sexy+Thrills%3A+Undressing+the+Erotic+Thrille&qid=1630342014&sr=8-1-spell" target="_blank">Sexy Thrills: Undressing the Erotic Thriller</a></em>, "The predominating syntax that shapes these films combines romanticized, 'erotic' appeal with a dangerous 'thriller' narrative—a 'pleasure/danger' principle."
1410. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="What Are the Best Erotic Thrillers? " class="rm-shortcode" data-rm-shortcode-id="5c290bc93aceed3194c2fc979090680a" data-rm-shortcode-name="rebelmouse-image" id="e4015" loading="lazy" src="https://nofilmschool.com/media-library/what-are-the-best-erotic-thrillers.jpg?id=34055937&width=980"/>
1411. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Disclosure'</small>
1412. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Bros.</small></p><h3 dir="ltr">
1413. What Are the Best Erotic Thrillers?
1414. </h3><p dir="ltr">
1415. It's so hard to come up with a list when there are so many titles that fit this bill. I tossed and turned over whether or not to include a movie like <em>Gone Girl </em>or <em>9 1/2 Weeks</em>. I also kept thinking about how many of these movies Mickey Rourke has been in, like <em>Angel Heart</em> and even <em>The Wrestler.</em>
1416. </p><p dir="ltr">
1417. There are older movies that fit the bill, and even newer ones that feel like they are just pushing the boundaries. So many famous directors have tried their hands at them. How can you ignore great artists like Adrian Lyne, who almost exclusively worked on that genre for a long period? And Brian De Palma, who constantly pushed us out of our comfort zones. <em>Dressed to Kill</em> and <em>Body Double </em>could easily be on this list. They're so amazing and worth it for anyone to seek out.
1418. </p><p dir="ltr">
1419. There are also many subcategories that cover lots of different life experiences, like <a href="https://letterboxd.com/pd187/list/black-erotic-thrillers/" target="_blank">black erotic thrillers</a>, <a href="https://www.newnownext.com/queer-thriller-movie/06/2017/" target="_blank">queer erotic thrillers</a>, and <a href="https://www.wikiwand.com/en/List_of_erotic_thriller_films" target="_blank">period erotic noir</a>.
1420. </p><p dir="ltr">
1421. The best seduction movies and sexy thrillers have to really capture the audience. It's not just about their releases—they need to cross into the cultural lexicon. Think about movie titles that people still talk about today. The scenes they inspire, the pervasive way they seep into popular culture.
1422. </p><p dir="ltr">
1423. When I think about the best erotic thrillers, I try to come up with a list of movies like <em>Basic Instinct</em>.
1424. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="The Top 11 Erotic Thrillers" class="rm-shortcode" data-rm-shortcode-id="826b04d2b72376e7c5166017a3c36497" data-rm-shortcode-name="rebelmouse-image" id="41966" loading="lazy" src="https://nofilmschool.com/media-library/the-top-11-erotic-thrillers.jpg?id=34055940&width=980"/>
1425. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Obsessed'</small>
1426. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Sony Pictures Releasing</small></p><h3 dir="ltr">
1427. The Best Erotic Thrillers
1428. </h3><p dir="ltr">
1429. After some research, I had a few days of watching some steamy content, and I decided to venture out into making my list of top 11 erotic thrillers.
1430. </p><p dir="ltr">
1431. I know there are probably some I'm missing! Either way, this is my list of the top ones I've seen. You're allowed to disagree and to come up with other titles. I want to hear them! But for my money, these are the best adult thriller movies for me. </p><h3 dir="ltr">
1432. 11. <em>Devil In A Blue Dress</em>
1433. </h3><p dir="ltr">
1434. A film that introduced us to Easy Rawlins, a WWII veteran who takes a case he doesn't want because of money he doesn't have. This film exposes the underbelly of Los Angeles in a way only a mix of noir can provide. Denzel Washington and Don Cheadle steal scenes from one another as the mystery here unravels.
1435. </p><p dir="ltr">
1436. This one's biggest sex scene was actually left on the cutting room floor. Instead, it focused on the idea of eroticism and how it can motivate our worst impulses.
1437. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Devil-in-a-blue-dress_best_erotic_thrillers_0" class="rm-shortcode" data-rm-shortcode-id="01703a54f56eaa1863179f85dfa86290" data-rm-shortcode-name="rebelmouse-image" id="205e3" loading="lazy" src="https://nofilmschool.com/media-library/devil-in-a-blue-dress-best-erotic-thrillers-0.jpg?id=34055941&width=980"/>
1438. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Devil in a Blue Dress'</small>
1439. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: TriStar Pictures</small></p><h3 dir="ltr">
1440. 10. <em>Lust, Caution </em>
1441. </h3><p dir="ltr">
1442. I saw this movie at the State Theatre in State College, Pennsylvania. It was a packed house. I mean, you don't often get an NC-17 film playing on a college campus—but this was an <a href="/tag/ang-lee">Ang Lee</a> film—it was high art! This movie uses its lust in so many clever ways. It shows seduction, romance, attachment, and eventually betrayal so well.
1443. </p><p dir="ltr">
1444. You can track the thrilling beats as a spy seduces her target for assassination. The movie also keeps you on the edge of your seat, constantly upping the stakes and the danger.
1445. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="3dcfcbcd9cd76f34e26f58714b610b7e" data-rm-shortcode-name="rebelmouse-image" id="b9832" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055942&width=980"/>
1446. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Lust, Caution'</small>
1447. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Focus Features</small></p><h3 dir="ltr">
1448. 9. <em>The Talented Mr. Ripley </em>
1449. </h3><p dir="ltr">
1450. This incredible movie shows how one man can become obsessed with another, and fool everyone into thinking he's someone else. While not having the explicit sex of others on the list, this movie has so much sensuality and lust. Matt Damon's Tom Ripley is fit, witty, and desperately clinging to a fantasy. Jude Law's Dickie is so easy to despise. And Gwyneth Paltrow's Marge is pulled between the nightmare she thinks is happening and the even worse nightmare happening behind her back.
1451. </p><p dir="ltr">
1452. It's a thrilling movie that teases so much more under the surface.
1453. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="633efebfb9ad8536237fc23e30ea8408" data-rm-shortcode-name="rebelmouse-image" id="f0082" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055943&width=980"/>
1454. <small class="image-media media-caption" placeholder="Add Photo Caption...">'The Talented Mr. Ripley'</small>
1455. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount</small></p><h3 dir="ltr">
1456. 8.<em> Single White Female </em>
1457. </h3><p dir="ltr">
1458. A title that's part of the cultural lexicon, this movie is about obsession and betrayal. It also changed the way we viewed picking roommates.
1459. </p><p dir="ltr">
1460. Directed by Barbet Schroeder, this was a rare erotic thriller that feels like it was made without the male gaze. It pulls in elements of horror, slasher, and more psychological thrillers to build out a fun and satisfying story that keeps unfolding until the last frame.
1461. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="2fe7d2119f56e08f63237a3357a8ebe8" data-rm-shortcode-name="rebelmouse-image" id="673d4" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.png?id=34055944&width=980"/>
1462. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Single White Female'</small>
1463. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Columbia Pictures</small></p><h3 dir="ltr">
1464. 7. <em>Fatal Attraction</em>
1465. </h3><p dir="ltr">
1466. This was the movie that started the run on erotic thrillers in the late 80s and early 90s. Again, obsession takes center stage here as a man has an extramarital affair he can't escape. It was supposed to be a one-night stand for Michael Douglas' character, but Glenn Close's character keeps coming back for more. And eventually, violence comes into play.
1467. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="b507786c7d6c3a1868ea9face27120d4" data-rm-shortcode-name="rebelmouse-image" id="8a69a" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055946&width=980"/>
1468. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Fatal Attraction'</small>
1469. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount</small></p><h3 dir="ltr">
1470. 6. <em>Wild Things </em>
1471. </h3><p dir="ltr">
1472. I'm not sure there's a movie that's more famous for just one scene like <em>Wild Things</em>. Even the cover of the VHS at Blockbuster is burned into my brain. Denise Richards and Neve Campbell straddling Matt Dillion in a pool. But outside of that famous three-way is a taut and exciting thriller that keeps delivering twist after twist until the very last frame of the film, and even into the credits. It's a neverending list of plants, payoffs, and double-crosses that will always leave you wanting more.
1473. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="d9f6fd206273b1cd53ed9e233d6c0864" data-rm-shortcode-name="rebelmouse-image" id="04367" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055945&width=980"/>
1474. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Wild Things'</small>
1475. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Sony Pictures Releasing</small></p><h3 dir="ltr">
1476. 5. <em>Bound</em>
1477. </h3><p dir="ltr">
1478. This is the <a href="/tag/wachowski-siblings">Wachowski</a> siblings' first film. This sexy crime thriller features Gina Gershon as an ex-con who seduces the wife of her crime boss neighbor. Her witty repartee with Jennifer Tilly kicks this film up a notch, as they banter back and forth, exposing deep feminist themes. The movie helped launch the career of the Wachowskis, who then went on to <em>Matrix</em> fame.  
1479. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="13a26d7aac3043496622e71253669654" data-rm-shortcode-name="rebelmouse-image" id="22481" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055949&width=980"/>
1480. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Bound'</small>
1481. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Gramercy Pictures</small></p><h3 dir="ltr">
1482. 4. <em>Eyes Wide Shut  </em>
1483. </h3><p dir="ltr">
1484. From the first frame to the last frame, this <a href="/kubrick-matrix">Stanley Kubrick</a> masterpiece tells the story of a husband and wife in a fight. The husband exits out into the night, sneaking his way into a sex cult, causing a young woman to be murdered, and somehow living to tell the tale.
1485. </p><p dir="ltr">
1486. There are incredible scenes of extended conversations, tensions as Tom Cruise's character slips deeper into the underbelly of society, and the ultimate payoff. Maybe the grass is not greener out there. Meanwhile, Nicole Kidman's character deals with how her husband perceives her and how she sees their marriage growing.
1487. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="dbccef141b34483107bc9da782637ea3" data-rm-shortcode-name="rebelmouse-image" id="92cc0" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055948&width=980"/>
1488. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Eyes Wide Shut'</small>
1489. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Bros.</small></p><h3 dir="ltr">
1490. 3. <em>Vertigo</em>
1491. </h3><p dir="ltr">
1492. I wish <a href="/hitchcock-shot-length">Alfred Hitchcock</a> were around to make more of these kinds of movies. But I wanted to add one to the list that I felt helped build the mold of these kinds of films for the modern era. <em>Vertigo</em> is the ultimate obsession film, with Jimmy Stewart subverting audience expectations and playing a man desperate for love and attention. The movie has been homaged so many times many people forget what it was about.
1493. </p><p dir="ltr">
1494. A man becomes obsessed with someone else's wife, who then dies, and then he sees a woman who looks exactly like her. Everything after this movie helped build erotic thrillers as we know them today.
1495. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="f114cb4c681d0064f3487f9aec88f331" data-rm-shortcode-name="rebelmouse-image" id="e3c7e" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055947&width=980"/>
1496. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Vertigo'</small>
1497. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount</small></p><h3 dir="ltr">
1498. 2. <em>Body Heat </em>
1499. </h3><p dir="ltr">
1500. Absolutely one of my favorite overall moves on the list. This one understood the assignment.
1501. </p><p dir="ltr">
1502. It is about a heatwave, takes place mostly at night, shows us real-world scoundrels like sleazy lawyers and shady auto mechanics, and has a murder that may not be happening the way we think. Kathleen Turner's performance in this movie is nothing short of amazing. She plays the seductress who may have more than meets the eye and absolutely haunts every hallway and furtive glance delivered in this masterpiece.
1503. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="1728d6722cde51c0ce2a7826fab96f3b" data-rm-shortcode-name="rebelmouse-image" id="2cf8e" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055951&width=980"/>
1504. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Body Heat'</small>
1505. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Bros.</small></p><h3 dir="ltr">
1506. 1. <em>Basic Instinct </em>
1507. </h3><p dir="ltr">
1508. It's hard to peg the most famous erotic thriller, but I bet it's this one. From the leg crossing, to the ice pick, to the sex scenes, to the big reveals, to the murders, blood, and violence, this amazing erotic thriller delivers on everything we have come to expect from the genre and more. It's sexy and scary and full of dangerous escapades.
1509. </p><p dir="ltr">
1510. Catherine Tramell is one of the best movie villains of all time, one who you think has to be guilty—but you also have no idea how that can be true.
1511. </p><p dir="ltr">
1512. Of course, this movie comes with its own baggage. In Sharon Stone's<a href="https://www.vanityfair.com/hollywood/2021/03/sharon-stone-on-how-basic-instinct-nearly-broke-her" target="_blank"> recent memoir</a>, she talks about how she was duped into shooting the leg uncrossing scene. "After we shot <em>Basic Instinct,</em> I got called in to see it. Not on my own with the director, as one would anticipate, given the situation that has given us all pause, so to speak, but with a room full of agents and lawyers, most of whom had nothing to do with the project. That was how I saw my vagina-shot for the first time, long after I’d been told, “We can’t see anything—I just need you to remove your panties, as the white is reflecting the light, so we know you have panties on.” Yes, there have been many points of view on this topic, but since I’m the one with the vagina in question, let me say: The other points of view are bullshit."
1513. </p><p dir="ltr">
1514. The director, Paul Verhoeven responded in <a href="https://variety.com/2021/film/news/paul-verhoeven-sex-religion-benedetta-basic-instinct-crusade-1235013278/" target="_blank">Variety</a>, saying “My memory is radically different from Sharon’s memory. That does not stand in the way and has nothing to do with the wonderful way that she portrayed Catherine Tramell. She is absolutely phenomenal. We still have a pleasant relationship and exchange text messages. But her version is impossible. She knew exactly what we were doing. I told her it was based on a story of a woman that I knew when I was a student who did the crossing of her legs without panties regularly at parties. When my friend told her we could see her vagina, she said, ‘Of course, that’s why I do it.’ Then Sharon and I decided to do a similar sequence.”
1515. </p><p>
1516. This is obviously a complicated issue but the film remains and achievement for all those involved.  
1517. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="2a34b087795033f98b4f245d4b4c56e7" data-rm-shortcode-name="rebelmouse-image" id="5d01b" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055950&width=980"/>
1518. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Basic Instinct'</small>
1519. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: TriStar Pictures</small></p><h3 dir="ltr">
1520. 1. <em>Double Indemnity </em>
1521. </h3><p dir="ltr">
1522. Yeah, I have two number-one flicks. I had to go with the original erotic thriller, the <a href="/billy-wilder-10-screenwriting-tips">Billy Wilder</a> classic. This movie has it all. A Raymond Chandler and Wilder screenplay, Barabara Stanwyck as the femme fatale, and a murder with so many suspects you can't blink.
1523. </p><p dir="ltr">
1524. Absolutely one of the best films of all time, and certainly one of the most erotic, even while combatting the Hays Code.
1525. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="b1cab9a9507b4101b03eb655c30ced81" data-rm-shortcode-name="rebelmouse-image" id="da918" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055955&width=980"/>
1526. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Double Indemnity'</small>
1527. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Paramount</small></p><h3 dir="ltr">
1528. Erotic Thrillers on Netflix
1529. </h3><p dir="ltr">
1530. While erotic thrillers have not survived the studio's lust for tentpole films, we have seen them picked up on streamers like Netflix, who understand adults need entertainment and want to watch things after the kids go to bed.
1531. </p><p dir="ltr">
1532. Netflix has made movies like <em>365 Days, You Get Me, Dark Forces, </em>and<em> Offering to the Storm</em>. <a href="https://thecinemaholic.com/best-erotic-thrillers-on-netflix/" target="_blank">Netflix has made a name creating sexy and erotic thrillers</a> they know people will enjoy thanks to their algorithm.
1533. </p><h3 dir="ltr">
1534. The Future of Erotic Thrillers in Hollywood
1535. </h3><p dir="ltr">
1536. While streamers seem to be the best place to have these kinds of films seen, I think Hollywood would bring them back in a big way. Right now, the only real erotic thrillers that are greenlit are based on big intellectual properties, like <em>50 Shades of Grey</em>. That trilogy was a massive box-office success and brought butts into the seats and out of the house.
1537. </p><p dir="ltr">
1538. Hollywood studios are always going to be looking for movies that bring people out to see them. A few years ago, they bet big on <a href="https://en.wikipedia.org/wiki/A_Simple_Favor_(film)" target="_blank"><em>A Simple Favor</em></a>, a Blake Lively and Anna Kendrick erotic thriller that absolutely paid off.
1539. </p><p dir="ltr">
1540. If you can get marquee talent interested, you can still find your movie playing at the local box office. The idea is to write scripts or create projects that are so sensual, sexy, and thrilling that people cannot wait at home to find out what happens.
1541. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="erotic thriller" class="rm-shortcode" data-rm-shortcode-id="9e33a8faec046102c28f0ef17a1b5014" data-rm-shortcode-name="rebelmouse-image" id="b2475" loading="lazy" src="https://nofilmschool.com/media-library/erotic-thriller.jpg?id=34055952&width=980"/>
1542. <small class="image-media media-caption" placeholder="Add Photo Caption...">'A Simple Favor'</small>
1543. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Lionsgate</small></p><h2 dir="ltr">
1544. Summing Up Erotic Thriller Movies
1545. </h2><p dir="ltr">
1546. Sexy thrillers and the best seduction movies will always have a place in Hollywood. They were big when movies were still finding their place in this world and will continue to be popular across different mediums. We've seen a lot of these titles move to TV, but there is still the occasional erotic film that breaks through and becomes part of the cultural lexicon.
1547. </p><p dir="ltr">
1548. The top sex thrillers will always have a place at the box office and an audience to see them. So if you have ideas to create the next best steamy thriller, get writing that screenplay today.
1549. </p><p dir="ltr">
1550. Erotic thrillers might be the right <a href="/TV-and-film-genres">genre</a> for you.
1551. </p><p dir="ltr">
1552. Let us know your favorites or some lesser-known gems in the comments.
1553. </p><p dir="ltr">
1554. I can't wait to watch them.
1555. </p>]]></description><pubDate>Thu, 02 May 2024 15:35:00 +0000</pubDate><guid>https://nofilmschool.com/erotic-thriller-movies</guid><category>Thriller genre</category><category>Genre</category><category>Genre film</category><category>Suspense</category><category>Sex scenes</category><category>Thriller</category><category>Erotic thriller</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/best-erotic-thriller-movies-genre.jpg?id=34055936&amp;width=980"></media:content></item><item><title>Get Educated With Canon's New 'Explorers of Light' Filmmakers</title><link>https://nofilmschool.com/canon-explorers-of-light</link><description><![CDATA[
1556. <img src="https://nofilmschool.com/media-library/get-educated-with-canon-s-new-explorers-of-light-filmmakers.png?id=52155042&width=1200&height=800&coordinates=546%2C0%2C546%2C0"/><br/><br/><p>Want to be a renowned DP but don't know where to find a professional mentor? </p><p>Canon's <em><a href="https://www.usa.canon.com/learning/inspiration/inspirational-stories-list/explorers-of-light" target="_blank">Explorers of Light</a> (EOL)</em> program is designed is a collective of professional photographers and filmmakers with the intention to educate, inspire, and collaborate for and with future generations of any and all skill level. </p><p>Today they're adding six new members dedicated to the art of motion, the program officially expands its scope beyond still photography to foster creativity among the global filmmaking community.<br/></p><p>Lucky for us at No Film School, these six accomplished wipper snappers even included some good ol' fashion advice and a list of gear they like to use. The new members include DPs working on scale with productions like <em>Poker Face, ZIWE, Mandalorian, Welcome to Flatch, </em>and many more. </p><p>Check out the new members and their sound intel below. </p><hr/><h3>Christine Ng, Cinematographer ('Poker Face', 'ZIWE', 'Between the World and Me')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="83ba8f8452e7d787795807c9b79a4b54" data-rm-shortcode-name="rebelmouse-image" id="a90da" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52155099&width=980"/><ul><li><strong>Top Gear Picks: </strong>RF50mm F1.2 L USM, RF100mm f/2.8 L Macro IS USM, RF28-70mm F2 L USM, RF70-200mm F2.8L IS USM, RF 24-105mm F2.8 L IS USM Z, vintage Canon K-35 Primes, the Canon 50mm f/0.95mm “Dream Lens,” and a 3D printed Totoro figurine.<u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “Stay humble and true to yourself, always say yes to every opportunity when you’re starting out. You never know who you will meet and how that initial meeting will influence your career later.”<u></u><u></u></li><li><strong>What it Means to be a Canon EOL</strong>: “It is such a prestigious honor to be included in the <em>Explorers of Light</em> program. I’ve always shot with Canon since I first discovered photography, so it is incredibly humbling to be recognized by the Canon team.”</li></ul><h3>Claudia Raschke, Cinematographer ('Julia, My Name is Pauli Murray', 'RBG')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="9867322a9ca24e6528dad78fc7e7436d" data-rm-shortcode-name="rebelmouse-image" id="f84bb" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52155100&width=980"/><ul><li><strong>Top Gear Picks: </strong>Canon Cinema EOS C500 Mark II, Cinema EOS C300 Mark III, CN-E 35mm T1.5 L F, CN-E 50mm T1.3 L F, CN-E 135mm T2.2 LF, CINE-SERVO 17-120mm T2.95-3.9, COMPACT-SERVO 18-80mm T4.4 EF, a spot meter and a small sketchbook.<u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “Experiment as much as you can with the tech tools you have access to and create a playground to challenge yourself to think outside your limits. Be fierce and fearless.”<u></u><u></u></li><li><a rel="noopener noreferrer" target="_blank"><strong>What it Means to be a Canon EOL</strong>: </a>“It is a distinct privilege and honor to join the ranks of the <em>Explorers of Light</em> program. Canon cameras and optics have been my top creative tools for documentary filmmaking for many years. I consider it a great opportunity to learn from other EOL artists and to share my process as a cinematographer with the <em>Explorers of Light</em> community.”</li></ul><h3>David Klein, ASC, Cinematographer ('The Mandalorian', 'The Book of Boba Fett', 'Homeland')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="a8916e258332084e5218b8dc365e6871" data-rm-shortcode-name="rebelmouse-image" id="9efe5" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52155101&width=980"/><ul><li><strong>Top Gear Picks:</strong> <a rel="noopener noreferrer" target="_blank"></a><a rel="noopener noreferrer" target="_blank">EOS R5 C, CN-E 15.5-47mm T2.8 L SP, CN-E 30-105mm T2.8 LS, a set of Canon PL Cinema Primes</a>, and a Suunto compass/inclinometer combo.<u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “Never forget it’s our job as cinematographers to tell the story in a unique way, but it’s also to be invisible. To paraphrase Roger Deakins, if somebody sees something I’ve shot and says ‘that was beautiful cinematography’ before they talk about the story, we have failed.”<u></u><u></u></li><li><strong>What it Means to be a Canon EOL</strong>: “Exploring light is quite literally what I do. On set and in pre-production, we’re always exploring new and unique ways to use light to tell stories differently. Canon is constantly pushing the envelope to deliver new ways to tell stories with tried and true tech, and it’s an honor to be named an Explorer of Light.”</li></ul><h3>Matthew Heineman, Director/Cinematographer ('American Symphony', 'Retrograde', 'Cartel Land')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="1e280f4eb0328646d9920c1ff7a3fe43" data-rm-shortcode-name="rebelmouse-image" id="d85df" loading="lazy" src="https://nofilmschool.com/media-library/image.webp?id=52155102&width=980"/><li><strong>Top Gear Picks: </strong><a rel="noopener noreferrer" target="_blank">Canon Cinema EOS C500 Mark II, RF24-105mm F4 L IS USM, RF24-70mm F2.8L IS USM, RF70-200mm F2.8 L IS USM, EF-S 17-55mm f/2.8 IS USM</a><u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “When I was 21 years old, I heard documentarian Albert Maysles give a talk that would shape my view on filmmaking. He said, ‘If you end up with the film you started with, then you weren't listening along the way.’ Be open to the story changing. Don't be dogmatic. And this is something that I've held very close to my heart both in a macro sense (the films I choose to take on and how I find my way to them) and in a micro sense (within each shoot, shoot day, scene, lens change). Look around the frame at all times! I love embracing this type of unpredictability and adaptation inherent in making verité films. By doing so, my goal always is to try to humanize stories that often seem so far away or are relegated to stats or headlines.”<u></u><u></u></li><li><strong>What it Means to be a Canon EOL</strong>: “I am honored and thrilled to be in the company of so many incredible artists whose work I admire, including my dear friend Jimmy Chin. From <em>Cartel Land</em> though my most recent documentary <em>American Symphony</em> (including 6 projects in between), I’ve used Canon equipment in every project. I’m excited to share my knowledge and skillset with other cinematographers and story tellers around the world.”</li><h3>Rudy Valdez, Director/Cinematographer ('Choir, Carlos', 'The Sentence')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="a566e778d73305a7a8932a65c7fbef62" data-rm-shortcode-name="rebelmouse-image" id="f6166" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=52155103&width=980"/><ul><li><strong>Top Gear Picks: </strong>Canon Cinema EOS C500 Mark II, EOS R5 C, CN-E 50mm T1.3 L F, CN-E 35mm T1.5 L F, and a monopod<u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “Shoot. Shoot. Shoot. Shoot. As much as you possibly can. Find out what works for you.”<u></u><u></u></li><li><strong>What it Means to be a Canon EOL</strong>: “It is such a wonderful honor to be a Canon Explorer of Light. I was lucky enough to start my journey as a filmmaker around the same time that the Canon EOS 5D Mark II was introduced, allowing me an affordable camera that could produce the images as I saw them in my head.”</li></ul><h3>Shana Hagan, ASC, Cinematographer ('Somebody Somewhere', 'Welcome to Flatch', 'The Kingmaker')</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="6e450c4c0c0e20960b99a0a9d8b74c8b" data-rm-shortcode-name="rebelmouse-image" id="30188" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52155105&width=980"/><ul><li><strong>Top Gear Picks:</strong> Canon Cinema EOS C300 Mark III, Cinema EOS C70, EOS R5 C, RF14-35mm f/4 ISUSM, RF24-70mm f/2.8 L IS USM, RF70-200mm F4 L IS USM and an old compass from the Girl Scouts.<u></u><u></u></li><li><strong>Advice for Filmmakers</strong>: “Don’t be afraid to ask questions when you need help with something. Find a mentor. Also take some of your own footage and edit it. You’ll find out what’s working and what’s not working, and it will allow you to make adjustments next time you’re out in the field shooting. I can’t stress how important this process is for young DPs.”<u></u><u></u></li><li><strong>What it Means to be a Canon EOL</strong>: “I’m so honored. Being an Explorer of Light reminds me to keep exploring the world through my camera, like I did as a kid, and to continue finding new and exciting ways to tell stories.”</li></ul>]]></description><pubDate>Thu, 02 May 2024 15:03:03 +0000</pubDate><guid>https://nofilmschool.com/canon-explorers-of-light</guid><category>Explorers of light</category><category>Cinematography</category><category>Mandalorian</category><category>Director of photography</category><category>Canon</category><dc:creator>Grant Vance</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/get-educated-with-canon-s-new-explorers-of-light-filmmakers.png?id=52155042&amp;width=980"></media:content></item><item><title>Learn How AI Artist Paul Trillo Created the First Sora-Powered Music Video</title><link>https://nofilmschool.com/ai-music-video</link><description><![CDATA[
1557. <img src="https://nofilmschool.com/media-library/paul-trillo-washed-out-ai-music-video.jpg?id=52164654&width=1200&height=800&coordinates=234%2C0%2C0%2C0"/><br/><br/><p>Making its debut on May 2nd, the latest single for music artist Washed Out has something a bit more going for its silky chillwave beats. The music video for “Hardest Part” was created by filmmaker and multi-disciplinary artist <a href="https://nofilmschool.com/tag/paul-trillo" target="_blank">Paul Trillo</a> and is the world’s first officially commissioned music video project to make use of Sora—OpenAI’s not-yet publicly released new generative AI video tool.</p><p>We sat down to chat with Trillo, who might be a familiar name to those following the AI video revolution as one of the few creators hand-selected by OpenAI to test Sora with a “First Impressions” project, to chat about his new music video, his prompt-based processes, and his thoughts about the future of AI as a creative booster.</p><hr/><p><em><em>Editor's note: The following conversation has been edited for length and clarity.</em></em></p><h3></h3><br/><iframe class="rm-shortcode" data-rm-shortcode-id="f101d33ba56a15b837bdb5e1b845b30c" frameborder="0" height="480" scrolling="no" src="https://player.vimeo.com/video/941713443" width="100%"></iframe><p><strong>No Film School: Thanks for chatting with us, Paul. Before we dive into your process for this new music video from Washed Out and this AI revolution that we’re all a part of, could you share a bit about your background and history as a filmmaker and artist?</strong></p><p><strong>Paul Trillo</strong>: Well, going in it was never intended to be a revolution, but it has become one, and I guess I've kind of ended up on the tip of the spear for a lot of things for better or worse. I think part of that comes from a lot of my work has always experimented with technique, whether it's camera technologies or post-production techniques. It's kind of been genre agnostic, format agnostic. </p><p>I've done everything from Super Bowl comedy spots to dance films, to music videos, to video art installations, which are the ‘<a href="https://vimeo.com/938911283" rel="noopener noreferrer" target="_blank"><u>Notes to my Future Self</u></a>’ as a part of a museum piece that's in Madrid right now. I've done full narrative stuff. I've done fully abstract stuff. So it's always been about me just trying to get out of my comfort zone and try things that I haven't tried before and constantly stayed curious that way.</p>So yeah, it's led to a lot of different projects and other projects <a href="https://nofilmschool.com/tag/paul-trillo" target="_self"><u>featured in No Film School</u></a>. I did a 10-minute single-take drone film. I did a piece using the first mobile bullet time rig using smartphones. And yeah, it's always just been about how whatever technique, or technology opens up a story or a visual concept that we haven't seen before. And so I've always kind of leaned into the technology aspect to discover new kinds of visuals and trying to go against this challenge, this idea that everything's been done before.<h3></h3><br/><p><img alt="Paul Trillo - Director - ArtClass | LinkedIn" src="https://media.licdn.com/dms/image/D5603AQEMHBx1yZHeHg/profile-displayphoto-shrink_800_800/0/1703959232007?e=2147483647&v=beta&t=1F4CoXas6D18PSu4DUGcz8F1WVHKHPjCVTWM4fN3y1U"/></p><p><strong><strong>NFS: For the readers here who might have first seen your name as one of the creatives who got to <a href="https://nofilmschool.com/openai-sora-first-impressions" target="_blank">preview OpenAI’s Sora and share their first impressions</a>, we were curious if you’d share a bit more in-depth about what you thought of Sora when you first got the chance to experiment with it.</strong></strong></p><p><strong>Paul Trillo</strong>: Yeah, it was a little overwhelming at first and I remember thinking “where do I even begin with this thing?” My immediate instincts were to try to break it, which is what I try to do most of these post effects and camera things. I think OpenAI was very curious to learn from our process and not tell us too much about how to use the tool. Initially I kind of found that it had an almost like video game aesthetic. This 1990s kind of 3D animation slash stock video look. </p><p>I felt like I couldn’t have aesthetic ownership of any of this, which is always the challenge with these AI things. Trying to retain your voice or your fingerprints in the process when you're intrinsically limited to whatever the hell they trained this thing on. </p><p>I wanted to just see if I could get it out of this video game look and if I could make it into something more tangible. I also wanted to try to make it as dynamic and kinetic as possible. And, frankly, I had been getting a bit bored with a lot of the AI work that's been coming out where it's just essentially fancy slideshows. They're like PowerPoint presentations that are disguised as short films and the camera and people barely move.</p><p>And even when there’s movement, it doesn't really last beyond a few frames before it starts to fall apart. And so my instinct was like, all right, can I make this really chaotic? How fast can I get this camera moving and what terms can I even use to get through to it. It was a total guessing game. One of the first tests I did was just like a 15-second clip with no edits at all. Just to see if it could do a raw output with these whip pans as if it was continuously zooming through different eras of time.</p><p>And when I did that, I was like, oh my God, this thing is way more powerful than I think they let on to believe—specifically from a more experimental film aspect versus which I'm more interested in. Once I cracked that and saw some of the weird film effects that were going on, I was like, okay, I can do a lot more with this as a tool. And from there it was a constant investigation of what else it could do.</p><h3></h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="e374eec3e334e229144249ad12306e2d" data-rm-shortcode-name="rebelmouse-image" id="83e8a" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52160322&width=980"><p><strong>NFS: Moving on to this new Washed Out music video, which very well may be the world’s first (at least officially commissioned) music video to use Sora, could you share a bit about how this project came to you?</strong></p><p><strong>Paul Trillo</strong>: Yeah, the timing aligned pretty nicely. It was pretty serendipitous how the delivery of this video is lining up with OpenAI giving me the opportunity to use it for a music video. Originally Ernest from Washed Out reached out to me at the end of January and we were discussing different ideas. I'm constantly doing too many things all at once, and so I was getting a little nervous about when am I actually going to be able to have time to shoot this thing. But when I got a note from my contacts at OpenAI with the go-ahead it all fell into place.</p><p>So I saw this as an opportunity to really, I don't know, do something crazy that I could not have done in the timeline and the budget. And it actually played well to how I was finding that Sora was able to blend environments in these surreal ways. And so I chose to lean into this idea of conjuring these AI images almost like you're conjuring some sort of false memories.</p><p><strong>NFS: Could you talk about using Sora and what kind of render times you were dealing with? Also how much of the project did you have to prompt to get what we ultimately see in the music video?</strong></p><p><strong>Paul Trillo</strong>: I think for this project I generated almost 700 clips to make this video, and I think I used about 55 or 56 of them. So I calculated it was about 10% of this stuff that actually made it into the final video.</p><p>As far as time goes, generations with Sora can take anywhere from 15 minutes to an hour depending on how much you're using it, how long your clips are, and how big of a resolution. So there's a lot of variation in terms of render time. But I mean, you could imagine that with 700 clips it's going to take more than a day of rendering. It's multiple days. I worked on it for I guess about six weeks or something. </p><p>I could have made another video in six weeks, but I put a lot of that time into the editing process, so I spent extra days editing this thing because you have this fluid back and forth between the writing and ideation of the piece to the actual final creation of the piece. </p><p>The more you can pry out ideas, the more you just end up filling your time. The more places you save time elsewhere, you end up spending it somewhere else. We all have technologies that save us time, all these things that our smartphone does that save us time, but yet we still find ourselves really busy. So it's not like technology is giving us back hours within our day that are just totally free. We end up just filling our free time. And I think the same goes for the creative process as well.</p><h3></h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="b2610421dfbc35233fe22592078c71b4" data-rm-shortcode-name="rebelmouse-image" id="7d56b" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52160326&width=980"/><p><strong>NFS: Interesting, as the majority of us haven’t been able to try Sora ourselves yet, I’m curious what the actual process was like, you know, when working with the prompts for the first time and trying to bring a project like this to life.</strong></p><p>For me it originally started with these rolling hills that I felt were going to be a hard thing to find in reality. I wondered how Sora would handle rolling green, surreal landscapes, and it did it better than I think any location we could have found. And while we were waiting to hear back from OpenAI to get everything approved, I was experimenting with some early tests when I eventually discovered that it can do these kinds of high-speed infinite zoom, infinite dolly move things, which is something I've done in my work prior to AI.</p><p>So it's kind of just a go-to thing I ended up doing and wanted to see if there were some of these techniques that I had done in other places with other tools. Can I do that here? And thought that could be a cool device to tell a story with.</p><p>I actually had this idea of this infinite zoom through time following a young couple across four decades. I had this idea 10 years ago, but just was never able to practically figure that out for a music video budget. And so I kind of just shelved that idea, but I was like, “oh, that could be interesting here.” The song is about letting someone go, moving on, and knowing that you're going to have to live your life without someone. And so I wanted to honor the lyrics and the reason the song was made with the story.</p><p>From there it was honestly liberating using Sora as I was able to just throw any idea, even if it's a bad idea, at it just to explore. Because sometimes you self-edit, you compromise or you filter certain ideas in the creative process. But with Sora, it's kind of like there's no judgment there. You're just like testing to see whether an idea works without even having to pitch it to anyone. </p><p><strong>NFS: It does seem like experimentation is one way in which AI could most immediately be helpful for filmmakers.</strong></p><strong>Paul Trillo</strong>: Yeah, the experimentation and that ability to try things out is very unique to the tool and I think it is served best when it's being used in its most experimental form.<h3></h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="4a66f70eac535211ca7392f2b6cb00a1" data-rm-shortcode-name="rebelmouse-image" id="fa03b" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=52160335&width=980"/><p><strong>NFS: Exploring that a bit further, if you had to give advice to any filmmakers or artists looking to use Sora, or AI in general, in their projects, what advice would that be?</strong></p><p><strong>Paul Trillo</strong>: Any advice I could give on the technical side of using the tool is still in flux. But I think it's really great for trying an idea that no one else is going to let you try, so no need to try to get a green light or try to get a budget for something. You can see whether something's working or not without having to get approval from someone else. And that can lead you to try things that you wouldn't have normally explored. </p><p>But I also think there’s something to knowing where to draw the line. You don’t want to become a hundred percent reliant on using AI all the time, or using it as a crutch, because you will find that it doesn't do everything and there are limitations to it. It's still very strange. If your idea is somewhat experimental or conceptually makes sense to use AI for a higher meaning, I'd say it's justified.</p><p>But if you're struggling with character consistency, or if you're like, “oh, it doesn't do dialogue or whatever,” then just go out and shoot it with a camera. If you're hitting the wall of the limitations of AI, that means you're maybe not using it in the right way. It's great for trying to hallucinate and have it do things to help you find the happy accidents that come out of it as the glitches, which I think can be really beautiful and interesting as those are things that you couldn't shoot with a real camera. </p><p>So for those things, finding those kinds of beautiful errors, that's a great use of this, but I am not excited to see this replace the entire filmmaking process. I think that's honestly a bit boring and not really using the tool to its advantage.</p></img>]]></description><pubDate>Thu, 02 May 2024 14:51:50 +0000</pubDate><guid>https://nofilmschool.com/ai-music-video</guid><category>Washed out</category><category>Music video</category><category>Ai music video</category><category>Sora</category><category>Openai</category><category>Openai sora</category><category>Sora music video</category><category>Generative ai</category><category>Ai editing</category><category>Paul trillo</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/paul-trillo-washed-out-ai-music-video.jpg?id=52164654&amp;width=980"></media:content></item><item><title>What is a Crane Shot?</title><link>https://nofilmschool.com/crane-shot</link><description><![CDATA[
1558. <img src="https://nofilmschool.com/media-library/what-is-a-crane-shot.jpg?id=52151254&width=1200&height=800&coordinates=1068%2C0%2C360%2C0"/><br/><br/><p>Ever watch a TV show or movie and suddenly feel the camera rising higher and higher in the air? Or Maybe you start high and suddenly are lowering into a scene from above? </p><p>These shots are achieved with a handy, titularly title tool called a crane, and offer some of the most iconic visuals in all of cinema history. The creativity of filmmakers lies not only in storytelling but also in the visual techniques they employ. And the crane shot is a perfect example of that sentiment. </p><p>Today, we'll go over this shot, look at some examples, and teach you how you can use it in your own work. </p><p>Let's dive in. </p><h3>Crane Shot Definition</h3><br/><img alt="Crane Shot Definition" class="rm-shortcode" data-rm-shortcode-id="5eb3b55b6dbfbc24fa92605029609411" data-rm-shortcode-name="rebelmouse-image" id="30c63" loading="lazy" src="https://nofilmschool.com/media-library/crane-shot-definition.webp?id=52151264&width=980"/><p>In film and video production, a crane shot refers to any shot captured by a camera mounted on a mechanical arm called a crane or a jib. </p><p>This setup provides filmmakers with incredible flexibility, allowing the camera to move vertically, horizontally, and often in sweeping arcs. </p><p>The result is dynamic footage that transcends the limitations of static cameras.</p><h3>Why Do Filmmakers Love Crane Shots?</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="cea39a94db0d6fffe1f5e6c792a3221d" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/uVihMExI27A?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Crane shots offer several unique advantages to filmmakers:</p><ul> <li><strong>Elevated Perspective:</strong> Cranes grant a bird's-eye view of a scene, giving the audience a broader, more expansive look. This elevated viewpoint can evoke a sense of grandeur or create a sense of awe.</li> <li><strong>Reveals and Scope:</strong> Starting high and moving downwards, crane shots are perfect for establishing shots. They introduce locations, unveil hidden elements, or set the stage for a narrative development.</li> <li><strong>Fluid Movement:</strong> Unlike dollies or tracks that are ground-based, cranes boast incredible range in all directions. This enables them to follow characters smoothly or even swoop over obstacles.</li> <li><strong>Dramatic Effect:</strong> The inherent dynamism of a crane shot adds emotional weight and visual flair to a moment. A slow crane up may signal a character's triumph or a sense of foreboding.</li></ul><h3>Crane Shot Examples</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="6174e22871f79d1e2cc4f96e6127ca23" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/6S7wclUORUI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>The prevalence of crane shots in film and TV makes it hard to pick a favorite, but I wanted to go over some that are famous. </p><p>Some iconic crane shot examples from cinema and television include:</p><ul> <li><strong><em>Gone with the Wind</em> (1939):</strong> The Civil War epic features a breathtaking crane shot revealing the aftermath of the Battle of Atlanta, showcasing countless wounded soldiers.</li> <li><strong><em>The Lord of the Rings</em> Trilogy (2001 - 2003):</strong> Peter Jackson's fantasy epic utilizes sweeping crane shots to immerse viewers in the breathtaking landscapes of Middle-earth, bringing battles and journeys to life with incredible scale.</li> <li><strong><em>Game of Thrones </em>(2011 - 2019):</strong> The series employed crane shots extensively to reveal armies, build dramatic tension in battle scenes, and showcase the intricate construction of its fantasy cities.</li><li><strong><em>Touch of Evil</em> (1958): </strong>Orson Welles' crime-noir masterpiece opens with one of the most celebrated crane shots in film history. The shot begins with a close-up of a ticking time bomb, then ascends along a crane, finally culminating in a wide shot of a busy border town moments before the explosion.</li><li><strong><em>Citizen Kane</em> (1941): </strong>Another Orson Welles classic, Citizen Kane, features a pivotal crane shot that begins high above the stage where Susan Alexander is performing. The camera descends, passes through various levels of the theater, and finally focuses on a scathing newspaper review in a critic's hand.</li><li><strong><em>La La Land</em> (2016): </strong>The vibrant opening number of this modern musical features a stunning crane shot. The camera weaves through a massive traffic jam on a Los Angeles highway as dancers erupt into song atop their vehicles.</li></ul><h3>The Modern Crane Shot</h3><br/><img alt="The Modern Crane Shot" class="rm-shortcode" data-rm-shortcode-id="4bd676c32a13bc1da59151b32bdea820" data-rm-shortcode-name="rebelmouse-image" id="1ce48" loading="lazy" src="https://nofilmschool.com/media-library/the-modern-crane-shot.jpg?id=34051006&width=980"/><p>Advances in technology have made crane shots more accessible and dynamic than ever before. The rise of drones, smaller, more agile cranes, and even handheld gimbals allow filmmakers flexibility and versatility. </p><p>They can simulate crane-like movements at a lower cost and in tighter spaces.</p><p>Crane shots offer a powerful tool for visual storytelling, and they will continue to elevate our cinematic experiences. From epic battle scenes to intimate character moments, the rise and fall of this technique creates a visual symphony within the language of film.</p><p class="">Let me know your favorite crane shot in the comments. </p>]]></description><pubDate>Thu, 02 May 2024 14:03:03 +0000</pubDate><guid>https://nofilmschool.com/crane-shot</guid><category>Camera movement</category><category>Camera angles</category><category>Crane shots</category><category>Crane</category><category>Crane shot</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-is-a-crane-shot.jpg?id=52151254&amp;width=980"></media:content></item><item><title>How to Use Your Voice to Make Socially-Driven Films</title><link>https://nofilmschool.com/allison-norlian-kody-leibowitz-interview</link><description><![CDATA[
1559. <img src="https://nofilmschool.com/media-library/meandering-scars.jpg?id=52141818&width=1200&height=800&coordinates=608%2C0%2C0%2C0"/><br/><br/><p>In order to set yourself apart in Hollywood, it's important to find you voice and to make movies and TV shows that you truly care about. That means figuring out what you believe in and fostering your ideas from there. </p><p>Filmmakers  Allison Norlian and Kody Leibowitz, the co-founders of the new production company <a href="https://www.birdmine.com/" rel="noopener noreferrer" target="_blank">BirdMine</a>, do just that, making socially conscious stories that connect on many levels. </p><p>We sat down with them to talk about their new company and what's in store for the future. </p><p>Let's dive in. </p><p class="shortcode-media shortcode-media-rebelmouse-image">
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1561. <small class="image-media media-caption" placeholder="Add Photo Caption...">BirdMine</small></p><p><br/></p><hr/><p><em>Editor's Note: the following interview is edited for length and clarity. </em><br/></p><p><strong>No Film School: What inspired you to start your own production company, <a href="https://www.birdmine.com/" target="_blank">BirdMine</a>, and why did you choose to focus on socially driven films?</strong></p><p><strong>Allison + Kody:</strong> We met as interns in college, with dreams of becoming reporters and journalists. We followed our dreams, becoming television news reporters and anchors and working in various markets across the country, and we remained friends during our respective journeys. As the years went by, we would discuss wanting to tell longer-form, more impactful stories—we wanted to take what we'd learned as journalists and become documentarians. Documentaries were the pinnacle; we'd have more time to investigate, research, and dive into the stories. </p><p> But for a while, it was just talk—a pipedream that neither of us knew would ever come to fruition. </p><p>And then, in 2020, everything changed. We decided to act and start BirdMine, our company that focuses on amplifying the voices and stories of underrepresented communities in socially driven films. </p><p>It only made sense that our films would be socially driven, considering who we are as people and why we got into journalism and documentary work in the first place. </p><p>Allison became a journalist and now a filmmaker because of her profoundly disabled sister. Growing up with a sister with developmental disabilities and a grandmother with physical disabilities because of Multiple Sclerosis, Allison became an advocate at an early age for the disabled community. She became a journalist with the hope of "changing the way the world views disabilities" and creating a more accessible and inclusive reality for people with disabilities and their families. Being immersed in two marginalized communities since birth—both the disabled and Jewish communities—Allison gained empathy for everyone and anyone suffering. She found her calling to help through journalism and now filmmaking. </p><p>Kody spent much of his journalism career as an investigative journalist, holding public officials accountable and exposing racial injustice, political corruption, and wrongdoing by corporate or religious institutions. Growing up with a single mother who was a high school educator exposed Kody to the inequalities faced by so many in America—and people around the world. Kody also saw how illness and domestic violence impact a family at an early age. Kody was uncomfortable with this reality and desperately wanted to help create a more equitable society, so he became a journalist. </p><p>Creating socially conscious films is just an extension of what we have been doing all our lives. </p><p class="shortcode-media shortcode-media-rebelmouse-image">
1562. <img alt="" class="rm-shortcode" data-rm-shortcode-id="50a032adf4487808caf6cb6a0d5d192d" data-rm-shortcode-name="rebelmouse-image" id="bf623" loading="lazy" src="https://nofilmschool.com/media-library/allison-norlian-and-kody-leibowitz.png?id=52141835&width=980"/>
1563. <small class="image-media media-caption" placeholder="Add Photo Caption...">Allison Norlian and Kody Leibowitz</small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">BirdMine</small></p><p><strong>NFS: Can you tell us more about your upcoming projects, "</strong><strong>Thirteen"</strong><strong> and </strong><em><strong><em>Meandering Scars</em></strong></em><strong>? What can audiences expect?</strong></p><p><strong>A+K: </strong><em><em>Meandering Scars</em></em> is BirdMine’s first documentary, and "Thirteen"<em> </em>is BirdMine’s first short film; both movies center on the disability community. </p><p><em><em>Meandering Scars</em></em> is about a woman, paralyzed in a domestic violence incident who spent the better part of two decades depressed and suicidal. Then, in 2019, she discovered a nonprofit that helps people with disabilities compete in obstacle course races, like the Spartan and Tough Mudder; she started participating, which changed her life. She then decided to make it her mission to climb Mt. Kilimanjaro, the tallest free-standing mountain in the world, located in Tanzania, to spread awareness about mental health struggles and suicide in the disability community. She contemplated suicide often during her life and has had multiple friends with disabilities die by suicide.</p><p>But the film is about more than just the climb. It is about our story subject's journey as a disabled person in America. It is about how inaccessibility, perceived burdensomeness, and financial turmoil due to a faulty system contributed to her deteriorating mental health and suicide ideation. It's about how she overcame and worked through those dark feelings and how she helps other disabled people today. The Kilimanjaro climb is just a part of a bigger narrative.</p><p>Meanwhile, "Thirteen" is a short narrative film inspired by real-life—specifically, Allison’s mother and sister. The film is about a mother fighting to have a Bat Mitzvah for her nonverbal, developmentally disabled, terminally ill daughter in a synagogue that refuses to break from tradition. Allison’s older sister was the first nonverbal, developmentally disabled person to have a Bat Mitzvah at their synagogue decades ago.</p><p>The script for "Thirteen" advanced and did well in numerous script competitions; it was a finalist in HollyShorts, a semifinalist in Page, WeScreenplay Short Script lab, and Outstanding Screenplays Shorts competition, and a quarterfinalist in the Melech Tel Aviv Film Festival and Screencraft. </p><p>Also, for "Thirteen", we casted completely authentically—all Jewish roles played by Jewish actors. The young woman who plays the role inspired by Allison’s sister is also on the autism spectrum. </p><p>"Thirteen" is finished and we’ve submitted it to multiple festivals, and <em><em>Meandering Scars </em></em>is still in post-production. </p><p><strong>NFS: Kody, what was it like to film </strong><em><strong><em>Meandering Scars</em></strong></em><strong>, and what challenges did you face?</strong></p><p><strong>Kody: </strong>Important. </p><p>Filming felt important, and it still feels important as we continue the post-production of <em><em>Meandering Scars</em></em>. We live in an inaccessible society designed to punish people for their disabilities, leading some disabled folks to believe—falsely—that their lives are less than. </p><p>So, for me, it became important to film the everyday life of Erika Bogan, our main subject of <em><em>Meandering Scars;</em></em> to portray her day-to-day life; to film disabled joy, to embark on and film her climb; to show what inaccessibility truly means; to humanize her mental health and physical struggles; to offer potential solutions led through research by a person with a disability; to do our best to put disability at the forefront in our filming techniques and film. </p><p>The physicality and intensity of being embedded on a climb—so filming while climbing—was undoubtedly challenging for me. I trained for a year-and-a-half to get into my best physical shape to be able to handle days of 40 pounds of equipment while climbing and filming, running at times to get to shots, and being able to stay (as best as possible) a fly on the wall in Erika's journey up Mt. Kilimanjaro.</p><p> And even with that training, difficulties can pop up. On the morning of Summit Day, my neck and back were in immense pain from pushing myself the days before. I also hadn't slept the night before the summit. Because of the pain and my lack of sleep, I almost didn't go up with Erika, her team, and our crew. I ultimately went, but it was certainly a challenge. </p><p>After filming, while writing the script for <em><em>Meandering Scars,</em></em> one of our challenges was detailing Erika's 'reasons' for climbing Mt. Kilimanjaro. Erika had lost many friends to suicide, and for her, one friend in particular was top of mind throughout her trek up Mt. Kilimanjaro. This friend passed away before we knew Erika, and we wanted to honor her life and show the audience why her life was meaningful to her family and community in how we told <em><em>Meandering Scars.</em></em> I hope we did justice for her in our film. </p><p class="shortcode-media shortcode-media-rebelmouse-image">
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1565. <small class="image-media media-caption" placeholder="Add Photo Caption...">Allison Norlian</small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">BirdMine</small></p><p><strong>NFS: Allison, "</strong><strong>Thirteen"</strong><strong> is a short film inspired by your mother and sister. </strong><strong>What led you to decide to make it about your mother and sister? What was their involvement in the creative process? Finally, how did it feel to see your family's story come to life on screen in the final result?</strong></p><p><strong>Allison: </strong>My mother and sister are my reason for everything. </p><p>Growing up, my mom was a single mom, and as I told you, my sister is profoundly disabled, and it was always “us against the world.” I wouldn’t be here today without those two - they made me the woman I am and inspired me to become an advocate, journalist, and now a filmmaker. </p><p>I wanted to write and create "Thirteen" to honor them and share an important story from our lives with a universal message that I hope will help other people with families like ours feel less alone—the way we often did in our experiences. </p><p>My mother was involved early on when I first wrote "Thirteen"; she read several iterations of the script before it was finalized. </p><p>Watching "Thirteen" come to life and then seeing it on screen was a remarkably emotional and sentimental experience.</p><p>I still remember, during production, we were filming the ending (I won’t say what happens because NO SPOILERS!), but I felt in my soul that I was watching my mom and sister as I watched Rena Strober (who plays the role inspired by my mom) and Naomi Rubin (who plays the role inspired by my sister) perform. Once they were done with their take, the tears flowed and wouldn’t stop. There is a photo of Naomi running off-set to comfort me. It was a sweet moment. </p><p>Words can’t describe the feeling I had when I finally saw "Thirteen" on the big screen, and all of our hard work came to fruition—it was an out-of-body experience.</p><p class="shortcode-media shortcode-media-rebelmouse-image">
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1567. <small class="image-media media-caption" placeholder="Add Photo Caption..."> Kody Leibowitz</small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">BirdMine</small></p><p><strong>NFS: How has your experience in journalism helped you in your work as a filmmaker? Do you approach storytelling differently as a filmmaker than you did as a journalist?</strong></p><p><strong>A+K:</strong> The transition from journalism to filmmaking felt natural, and our experiences working as journalists have only enriched our journey as documentary and narrative filmmakers. </p><p>While traditional journalism is unique and distinct from filmmaking, it provides the tools needed to be an effective storyteller. </p><p>As a journalist, we learned how to take complicated stories and make them exciting, understandable and relatable; we learned how to take in a lot of information and share it concisely and effectively; we were taught principles, ethics, and objectivity; and we were given the tools and opportunities to learn filming techniques, editing, writing, etc. </p><p>Everything we learned as journalists translated flawlessly when we began this journey, and we wouldn't be the filmmakers we are today without our journalist backgrounds. </p><p>Even now, we still approach our work as journalists; we want to ensure we're telling impactful and meaningful stories—specifically with our documentaries—that can solve societal problems with solutions.</p><p>Our platforms have changed, but our methods and practices are effectively the same.</p><p><strong>NFS: What do you hope to achieve with your films, particularly in terms of raising awareness about important issues impacting people with disabilities and other vulnerable communities?</strong></p><p><strong>A+K: </strong>Wow, what a great question. We have many hopes and dreams and want to achieve so much with our films. We hope we can reach many people and change the way the world views disability. We hope to shed light on the issues our more vulnerable populations face in hopes of creating a more empathetic, inclusive, compassionate, and accessible society. We hope to make people who are often in the shadows feel seen. </p><p>Our goal is to reach as many people as possible with our films, but if we can even change one person's heart and mind—especially since we are new filmmakers—we did our work, and we did it damn well. </p><p>We hope BirdMine is so successful that our production company can eventually work like the A24 model but with socially conscious films. We hope to one-day finance other filmmakers doing great work to create their socially conscious movies under the BirdMine name.</p><p><strong>NFS: What is next for you? </strong></p><p><strong>A+K:</strong> When it comes to "<em><em>Thirteen"</em></em>, we are waiting to see what festivals we’ll place in with the hope of wider distribution/release. Once <em><em>Meandering Scars </em></em>is complete, we will also enter the festival circuit with the goal of it one day being available on a streaming platform. </p><p>We are both currently working on new feature scripts and in the research phase of our next documentary. </p><p>Stay Tuned! </p>]]></description><pubDate>Thu, 02 May 2024 13:03:03 +0000</pubDate><guid>https://nofilmschool.com/allison-norlian-kody-leibowitz-interview</guid><category>Birdmine</category><category>Allison norlian</category><category>Kody leibowitz</category><category>Director</category><category>Production company</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/meandering-scars.jpg?id=52141818&amp;width=980"></media:content></item><item><title>How The Coin Toss Scene in 'No Country for Old Men' Grounds the Theme</title><link>https://nofilmschool.com/no-country-for-old-men-coin-toss</link><description><![CDATA[
1568. <img src="https://nofilmschool.com/media-library/coin-toss-scene-in-no-country-for-old-men.jpg?id=34057693&width=1200&height=800&coordinates=44%2C0%2C156%2C0"/><br/><br/><p>
1569. <a href="/tag/coen-brothers">The Coen brothers</a> are in the upper echelons of impressive filmmakers for me because of their ability to handle so many different tones and stories. Their impressive work spans decades, but the one I come back to repeatedly is <a href="/search/?q=no%20country%20for%20old%20men"><em>No Country for Old Men</em></a>.
1570. </p><p>
1571. While it's not their funniest movie, it has a dark sense of humor that fits nicely with its theme. "What's the most you've ever lost in a coin toss?" Anton Chigurh asks in one iconic scene.
1572. </p><p>
1573. For those who have seen the movie, there's a particular scene that stands out against all others. One we all come back to. And it's that of the coin toss in the gas station. For me, this scene perfectly distills what makes this movie a classic. It distills the movie down to the choices we make that bring us closer to life, or closer to death.
1574. </p><p>
1575. It's a scene that embodies the two points of view within the story. It asks the question, "Is the world going to an evil place where only God can save it, or was the world so bad from the start nothing and no one can save it?"
1576. </p><p>
1577. These questions solidify the <a href="/script-theme-examples">script's theme</a> of those life-and-death choices.
1578. </p><p>
1579. Check out the scene below, and then let's analyze it after the jump.
1580. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="b7f4689c99b2788efc5196d134445847" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MSe5y61YwRo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><small class="image-media media-caption" placeholder="Add Photo Caption...">Coin Toss Scene in 'No Country for Old Men'</small></p><h2>
1581. How the Coin Toss Scene in <em>No Country for Old Men</em> Grounds the Theme
1582. </h2><p>
1583. When you're writing a movie, you have to think about <a href="/script-theme-examples">the theme</a>. The theme of your screenplay refers to the issue at the core of the story itself. This isn't mentioned in the script, but it's the emotional or spiritual driving force behind your movie's message. If you don't have a theme, then your plot will feel like it lacks purpose.
1584. </p><p>
1585. Your script theme needs to carry both the weight of the story and a connection to the audience. That's a significant burden to bear.
1586. </p><p>
1587. So how does this apply to the scene in this movie?
1588. </p><p>
1589. In the scene, we see ruthless killer Anton Chigurh fill up at a gas station and enter to pay his bill. But when the proprietor gets a little chatty, Chigurh takes out a coin and decides to let fate decide whether or not he assassinates this man. He even figures out where he lives and what time he has to come back to carry out this plan.
1590. </p><p>
1591. So as the coin flips into the air, we have to ask ourselves a question. Is Chigurh the embodiment of a bad world getting worse without divine intervention, or is he part of an always-bad world where nothing can save it? Because we know that if the coin lands and the gas station attendant calls it wrong, he's dead. God/fate controls the coin, the man controls himself.
1592. </p><p>
1593. The movie's theme is about the choices we make. Do the paths we choose take us closer to life or closer to death?
1594. </p><p>
1595. As it so happens, the man gets the call right, and Chigurh, following his <a href="/why-characters-need-a-code">code</a>, is forced to move on. There is free will here. The man is free to call what he wants, and Chigurh is free to do with that call as he pleases.
1596. </p><p>
1597. But the scene is about a lot more than that. We learn this older man's life story. We know why he has the gas station. And we know all the choices in his life that brought him to this random moment. We also see what brought Chigurh here. This sense that none of this is inevitable. It all is random. The only thing certain is that death is going to visit us all at least once.
1598. </p><p>
1599. They both are there because of the choices they made. And while the man presents no danger to Chigurh, the path the man took, by choosing unknowingly, took him closer to death. He escapes with his life, but only because he guessed correctly at this moment.
1600. </p><p>
1601. I love how well this sums up the movie. Age will take us closer to death than anything else, but every decision we make has inherent value. Even decisions that seem as small as a coin toss. This masterful scene sums up the movie's central thesis and shows us how the decisions we see other characters make will amplify their chances at death moving forward.
1602. </p><p>
1603. They might get lucky and make it out alive, or they might not.
1604. </p><p>
1605. Let us know what you think in the comments.
1606. </p>]]></description><pubDate>Thu, 02 May 2024 12:35:00 +0000</pubDate><guid>https://nofilmschool.com/no-country-for-old-men-coin-toss</guid><category>Coen brothers</category><category>Theme</category><category>Scene analysis</category><category>Screenwriting</category><category>No country for old men</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/coin-toss-scene-in-no-country-for-old-men.jpg?id=34057693&amp;width=980"></media:content></item><item><title>How to Write the Best Dinner Table Scenes in Movies and TV</title><link>https://nofilmschool.com/dinner-scene</link><description><![CDATA[
1607. <img src="https://nofilmschool.com/media-library/the-best-dinner-table-scenes.jpg?id=34055090&width=1200&height=800&coordinates=0%2C0%2C200%2C0"/><br/><br/><p>
1608. No matter what kind of story you're writing, eventually the characters might sit down and enjoy a dinner table together. <a href="/top-spielberg-table-scenes">Table scenes</a> are ways to get everyone in a room with one another. You can showcase power dynamics, create drama and comedy, and raise or even ease tensions. They are malleable to any <a href="/TV-and-film-genres">genre</a> of storytelling and work across mediums as well.
1609. </p><p>
1610. The best dinner table scenes set the audience up for the movie or TV show they're about to watch and even steep the audience in why they tuned in at all. It's where the genre truly pays off and trailer moments come into play. They can happen in any act and help you structure any kind of plant and payoff.
1611. </p><p>
1612. Today we're going to explore how you can write the best dinner table scenes and look at a few examples.
1613. </p><p>
1614. Let's dig in.
1615. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="15f23835631002e9d4bdc6b78405ced4" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/sLEdi49XEhA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
1616. How to Write the Best Dinner Table Scenes in Movies and TV
1617. </h2><p>
1618. Whether it's sitting down for a fancy meal or just around a campfire, dinner scenes bring everyone together.
1619. </p><p>
1620. What do I mean by that? As a writer, you need reasons for people to be in scenes. A meal provides a perfect meeting point to gather characters. When you have scenes with multiple points of view, you want to dig in everyone's motivation inside the scene.
1621. </p><p>
1622. Let's take the famous scene from <em>Wedding Crashers</em> as an example.
1623. </p><p>
1624. In the scene, our two main characters have their own motivations. Owen Wilson is trying to get to know Rachel McAdams and to flirt with her. Vince Vaughn is trying to keep their ruse alive and get out of there. Meanwhile, Bradley Cooper is trying to assert his dominance. McAdams wants to get to know Wilson but also is wary. Christopher Walken is trying to get to know them. Jane Seymour wants Wilson's attention. Isla Fisher is trying to have sex with Vaughn, which is hilarious. You have two wildcards in the grandma and brother characters. They can say and do anything at any time. So when they sit down at a table, you can see how anything can happen.
1625. </p><p>
1626. As the scene plays out, the drama comes from all the motivations interacting. Cooper will get aggro when Wilson flirts, which will annoy McAdams, who will be kind when the guys are pressed. Walken wants to know how Vaughn seduced his daughter, so he will press hard on him. Meanwhile, Vaughn will try to keep the ruse alive while also getting a handjob from Fisher. Mix in some zingers, and you have a comedy masterpiece.
1627. </p><p>
1628. Let's look at a few other examples.
1629. </p><h2>
1630. The Best Dinner Table Scenes  </h2><p>
1631. Obviously, dinner scenes are used in comedy, but before we jump into more of those, I wanted to look at one from a drama to show how they can really build tension. Like the one from <em>American Beauty</em>. (Sorry about Kevin Spacey.) This scene involves a couple crumbling. They had a normal routine that's now falling apart.
1632. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="825d44b2fd3f0df54f1e204cadbb7a66" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/hO66DoF7fGc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
1633. The dynamics here are funny, but they raise tension. This couple is learning in real-time they are far apart as people and maybe need to get a divorce. It's a meltdown that allows us to see the mental state of everyone in the movie.
1634. </p><p>
1635. Another scene that I like is <a href="/Download-Breaking-Bad-pilot-script">from <em>Breaking Bad</em></a>. I know it's not dinner, it's breakfast. But I still think it counts.
1636. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="2352d10b775cb39768e5bb7402361f14" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/1skZKe3j41I?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><p>
1637. In this scene, we see how the White family interacts. They eat fake bacon, the son wants to rebel, and we see how husband and wife interact. This scene becomes a seminal one on the show that we go back to over and over again. We mark Walt's birthday in this scene, and later we'll return to it as he gets older. And we use it to mark how he changes over the course of the series.
1638. </p><p>
1639. Another important one is from <em>E.T. The Extraterrestrial</em>. It is a big reveal that shows the power dynamics in the family and tells us the dad left them to go on vacation with his secretary. It balances comedy and drama to give us exposition and deliver the heart of the movie.
1640. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="718c45e04100341fbda88b7d4d788229" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ewkroL1cP_Q?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1641. <em>Beetlejuice</em> dinner table scene
1642. </h3><p dir="ltr">
1643. Are you a fan of this movie? In this scene, we get the tone and zaniness completely solidified. This is a movie where anything can happen, and over-the-top antics should be expected.
1644. </p><p dir="ltr">
1645. Take a look at it here.
1646. </p><p class="shortcode-media shortcode-media-youtube">
1647. <span class="rm-shortcode" data-rm-shortcode-id="29afba2b9340688d475b2f94b231d123" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/dzSP-J90tqA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
1648. <small class="image-media media-caption" placeholder="Add Photo Caption...">Beetlejuice - Dinner Scene</small>
1649. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
1650. <a href="https://www.youtube.com/watch?v=dzSP-J90tqA" target="_blank">www.youtube.com</a>
1651. </small>
1652. </p><h3 dir="ltr">
1653. <em>Talladega Nights</em> dinner scene
1654. </h3><p dir="ltr">
1655. As we said up top, these scenes thrive in comedies. This one aims to set up the family dynamics of the Bobbies. We also have to see how two friends act at the dinner table. Above all else, this is here to set the laughter. Ricky is on top of the world, and this is how he behaves.
1656. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="e182a6f41fed55e5aaf74b8b06bccdae" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qYiWydDyMIE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3 dir="ltr">
1657. <em>Borat</em> dinner party
1658. </h3><p dir="ltr">
1659. Even in an improvised movie, people know the power of the dinner table scene. For Borat, it was setting up an elegant dinner and then pulling the rug out from other people by behaving in a way that is least expected. The <a href="/plant-and-payoff-in-screenwriting">payoffs here are plentiful</a>.
1660. </p><p class="shortcode-media shortcode-media-youtube">
1661. <span class="rm-shortcode" data-rm-shortcode-id="55a6359f6eaa05297b6afd81ab8d1043" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/NufBJ80AGLY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
1662. <small class="image-media media-caption" placeholder="Add Photo Caption...">Dinner Party - BORAT. Remastered [HD]</small>
1663. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
1664. <a href="https://www.youtube.com/watch?v=NufBJ80AGLY" target="_blank">www.youtube.com</a>
1665. </small>
1666. </p><div>
1667. <h3 dir="ltr">
1668. <em>The Incredibles</em> dinner scene
1669. </h3>
1670. <p dir="ltr">
1671. This one is more dramatic—we're seeing family dynamics play out in real-time. It also sets up the problem for the movie—what does a family with powers do in a world that's outlawed them?
1672. </p>
1673. <p dir="ltr">
1674. It also answers a big question. What makes them like us? This is a relatable scene that oozes charm.
1675. </p>
1676. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="ca388760c74e9344adcd9ec2795a9d13" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/reTz59nkhBw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1677. <h3 dir="ltr">
1678. <a href="/goodfellas-oner-ruined"><em>Goodfellas</em></a> dinner scene
1679. </h3>
1680. <p dir="ltr">
1681. This clever take on the dinner table trope takes place after a brutal murder. It juxtaposes our expectations of what mobsters do with the reality that murder is just a long day at the office. They can still stop, be kind to their mothers, and enjoy a meal.
1682. </p>
1683. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="1f228ab784b544d98589211b831f9e1e" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MTJz_hj6GXw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1684. <h3 dir="ltr">
1685. <em>The Break-Up</em> dinner scene
1686. </h3>
1687. <p dir="ltr">
1688. Comedy is all about putting people in really hard situations. In this dinner table scene, we're getting characters that should be sharing a romantic evening actually sharing something much less so. It's an offensive attack on each character, with them parrying blows and delivering their own.
1689. </p>
1690. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="3c39c74229e621be8f2211be2a42a49f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aky2LIJu7yM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1691. <h3 dir="ltr">
1692. <a href="/titanic-melodrama-relevant"><em>Titanic</em></a> dinner scene
1693. </h3>
1694. <p dir="ltr">
1695. This scene serves to show character. We see what it's like for poor people and for the rich. What's the difference on this ship between the classes of people and how they treat one another? Jack here is also surprising to people. He shows he can blend in, if not fit in. It also serves to further flirtations between Jack and Rose.
1696. </p>
1697. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="2052be6eb6d6de9e8a562f7460c26404" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/YP-d_Dt-X-g?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1698. <h3 dir="ltr">
1699. <em>Step Brothers</em> dinner scene
1700. </h3>
1701. <p dir="ltr">
1702. One of the best lessons in comedy is taking a scene you've seen and flipping it on its head. A scene with parents and kids learning to get along is typical, but in this the kids are replaced by grown men who cannot get along. The comedy is not just in the lines but the execution of childish behavior.
1703. </p>
1704. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="bf806cc796da9479a422e00383723f15" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/nR10sSdh8xU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1705. <h3 dir="ltr">
1706. <em>Sicario</em> dinner scene
1707. </h3>
1708. <p dir="ltr">
1709. This is unlike anything else we talked about here. It takes a drug dealer and shows them as a peaceful family man, but it also shows that these characters have to pay for their crimes. We get a family slaughtered for what they've done, even the ones who don't deserve it.
1710. </p>
1711. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="4482827ad37f5c13c0039e2bc8267327" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/kJHJabO2OuA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1712. <div>
1713. <h3 dir="ltr">
1714. <em>Hook</em> dinner scene
1715. </h3>
1716. <p dir="ltr">
1717. This scene is key for getting the audience and Peter to buy into the imagination of the story. Once we get the food appearing, we see there is real magic. And after we see the food fight, we understand Peter's place as the alpha in this story. He starts to earn the respect of the other characters here.
1718. </p>
1719. <p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="0c869a85b325f32423cf3933d3df01c3" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/YCSbEzI7Nz0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p>
1720. <h3 dir="ltr">
1721. <em>Mrs. Doubtfire</em> dinner scene
1722. </h3>
1723. <p dir="ltr">
1724. Very common in sitcoms and comedies, it's the old "two dates for dinner" trope. But with Robin Willaims doing it, you know it'll be hilarious. This back and forth gets funnier every time I watch it. And here it's all about the stakes being raised every time he leaves and returns to the table. </p></div></div><p class="shortcode-media shortcode-media-youtube">
1725. <span class="rm-shortcode" data-rm-shortcode-id="2240d82a042b4b85e45faec205ce79b7" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vTpMuS6wfYM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span>
1726. <small class="image-media media-caption" placeholder="Add Photo Caption...">MRS. DOUBTFIRE (1993) [HD] - FULL DINNER SCENE</small>
1727. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">
1728. <a href="https://www.youtube.com/watch?v=vTpMuS6wfYM" target="_blank">www.youtube.com</a>
1729. </small>
1730. </p><h2>Summing Up The Best Dinner Table Scenes in Movies and TV</h2><p>
1731. Hopefully, these examples and tips help guide you on your dinner table scene writing. Remember that essentially, you are giving people different motives and having them clash all at once. So when you start in, pick who is in the scenes and what they need. From there, pick who is going to win and fail. Sometimes no one wins. But make sure you stick to the tone of your story and really accentuate the genre.
1732. </p><p>
1733. If you have tips and tricks of your own, leave them in the comments!
1734. </p>]]></description><pubDate>Thu, 02 May 2024 12:05:00 +0000</pubDate><guid>https://nofilmschool.com/dinner-scene</guid><category>Scene analysis</category><category>Scene breakdown</category><category>Writing advice</category><category>Screenwriting advice</category><category>Holiday</category><category>Table scenes</category><category>Dinner table scene</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-best-dinner-table-scenes.jpg?id=34055090&amp;width=980"></media:content></item><item><title>The Grandeur of the 'Pulp Fiction' Dance Scene</title><link>https://nofilmschool.com/pulp-fiction-dance-scene</link><description><![CDATA[
1735. <img src="https://nofilmschool.com/media-library/he-pulp-fiction-dance-scene.jpg?id=34054856&width=1200&height=800&coordinates=226%2C0%2C0%2C0"/><br/><br/><p>
1736. When<em> Pulp Fiction</em> debuted in 1994, it changed Hollywood forever. There were imitators, fans, and people who were just in awe that a non-linear, artistic narrative about gangsters in Los Angeles could break out and be a hit. Either way, the movie made <a href="/tarantino-named-wrights-soho">Quentin Tarantino</a> a household name, and I think it got every viewer to try to imitate that dance scene at least once in their lives.
1737. </p><p>
1738. It's true that the <em>Pulp Fiction</em> dance scene broke out in popular culture, with redos at awards shows, homages, and countless Halloween costumes from now until the end of time. But what made this scene so special? And how did Uma Thurman and John Travolta take it to the next level?
1739. </p><p>
1740. Today we're going to talk about the dancing scene from Pulp Fiction and look at how it defined the theme and tone and boosted the level of grandeur within the movie.
1741. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="b66c66e6df5d03433202c116ed1e70a0" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/o5qXCzknxn8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h2>
1742. The Grandeur of the <em>Pulp Fiction</em> Dance Scene
1743. </h2><p>
1744. There are so many great scenes inside the <a href="/pulp-fiction-script-download"><em>Pulp Fiction</em> screenplay</a>, but my personal favorite takes place inside Jackrabbit Slim's diner. It's when Vincent takes Mia on a date and they go into the retro diner.
1745. </p><p>
1746. Aside from ordering that famous $5 milkshake, the scene contains excellent characterization, tension, and flirtation. Let's dig into why.
1747. </p><h3>
1748. Why Is the Dance Scene in <em>Pulp Fiction </em>so Famous?
1749. </h3><p>
1750. Just what makes the dance inside the movie so famous? There are lots of reasons.
1751. </p><p>
1752. I think the comeback of John Travolta ranks near the top. Audiences hadn't seen him really dance in a movie since<em> Saturday Night Fever</em>, and his career had mostly disappeared. Believe it or not, the dance existed before Travolta was cast, with Tarantino saying, "Everybody thinks that I wrote this scene just to have John Travolta dancing. But the scene existed before John Travolta was cast.”
1753. </p><p>
1754. Tarantino intended to pay tribute to his favorite musical scenes which “<a href="https://www.thedailybeast.com/the-secrets-of-pulp-fiction-20-things-you-didnt-know-about-the-movie-on-its-20th-anniversary" target="_blank">have always been in Godard</a>, because they just come out of nowhere. It’s so infectious, so friendly. And the fact that it’s not a musical, but he’s stopping the movie to have a musical sequence, makes it all the more sweet.”
1755. </p><p>
1756. This sexy scene with a star helped catapult him back into the limelight. I also think the scene sizzles with charisma. We're seeing two top actors flirt their way through forbidden territory. Then, because they know having sex would lead to both their deaths, they dance it out. This kind of titillation and uniqueness connected with people on a visceral level.  
1757. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="162fcc9926ba106a297eebe2fe851623" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/lpqJvA1Gy0I?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3>
1758. The Choreography of the <em>Pulp Fiction</em> Dance Scene
1759. </h3><p>
1760. Another cool thing to point out here is the choreography within the scene. The dance these characters do feels expertly designed, not only to be an homage to older movies, but also older dance styles.
1761. </p><p>
1762. “The twist was made famous in the 60s,” <a href="https://www.openculture.com/2020/12/the-power-of-pulp-fictions-dance-scene.html" target="_blank">scene choreographer Lauren Yalango-Grant</a> said. “There were a lot of variations that came out of the twist that we do see in this scene.” Those include “the monkey,” “the swim,” and “the Batman,” better known as “the Batusi.”
1763. </p><p>
1764. As the characters move, so does the camera, giving us the feeling that we're right there with them, watching an intimate moment.
1765. </p><p class="shortcode-media shortcode-media-youtube"><span class="rm-shortcode" data-rm-shortcode-id="619bad432a1d1f80fcaaf73c36fc2460" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/KVONwG9Ut2w?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span></p><h3>
1766. How Does the <em>Pulp Fiction</em> Dance Scene Embody the Theme of the Movie?
1767. </h3><p>
1768. If the theme of <em>Pulp Fiction</em> is choosing to do what's right for humanity versus oneself, then the dance scene embodies that as well. As I mentioned above, Vincent knows just rubbing Mia Wallace's feet might get him tossed off a roof. So the dance is the conflagration of all the flirting and feelings.
1769. </p><p>
1770. This dancing also builds trust between the two characters, especially for what comes after this scene—the overdose and adrenaline needle. All of life is going to be a test to do the right thing.
1771. </p><p>
1772. For Mia and Vincent, they chose to keep an innocent 1950s night and are awarded a dance trophy. But as soon as drugs come into the mix, the night takes a turn toward the dangerous side.
1773. </p><p>
1774. That's just my interpretation, so let me know what you think in the comments.
1775. </p><h2>
1776. Summing Up the<em> Pulp Fiction</em> Dance Scene
1777. </h2><p>
1778. There are so many great scenes inside this movie, and it was really fun dissecting this one. Given the context and layers, you can see how easy it is to get absorbed in the world Tarantino builds and his fantastic writing and direction. When trying to emulate scenes like this one, spend time pulling the rug out from underneath the audience and circumventing expectations. When in doubt, emulate the movies of old that deeply influenced you.
1779. </p><p>
1780. And if you're having trouble breaking a scene, maybe take time to dance it out.
1781. </p><p>
1782. Let us know what you think in the comments.
1783. </p>]]></description><pubDate>Thu, 02 May 2024 11:45:00 +0000</pubDate><guid>https://nofilmschool.com/pulp-fiction-dance-scene</guid><category>Pulp fiction</category><category>Quentin tarantino</category><category>Dance</category><category>Choreography</category><category>Scene breakdown</category><category>Scene analysis</category><category>The 'pulp fiction' dance scene</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/he-pulp-fiction-dance-scene.jpg?id=34054856&amp;width=980"></media:content></item><item><title>How to Write a Press Release (Free Template)</title><link>https://nofilmschool.com/press-release-template</link><description><![CDATA[
1784. <img src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34050996&width=1200&height=800&coordinates=118%2C0%2C0%2C0"/><br/><br/><p>
1785. Ever want to tell all your family, friends, and distant relations to watch, read, or share something you've made or news stories you are about? It can feel impossible to email and text everyone you know and look for connections that can help take this event far and wide.
1786. </p><p>
1787. It kind of sucks to toot your own horn, but in this industry, you have to if you want a return on your investment. You need a news release.
1788. </p><p>
1789. When you have a new project coming out, it is imperative to get as many eyes on it as possible. As filmmakers, we strive to reach the widest audience possible, and that's where the press release comes in.
1790. </p><p>
1791. But what is a press release? And how can you write a good one? (Maybe use some <a href="/Ethos-pathos-logos">ethos, pathos, and logos</a> if need be.)
1792. </p><p>
1793. Today, we're going to look at some great examples of press releases, build a free press release template for you, and go over just what should be in the document you send to newspapers and websites, hoping they'll cover your work.
1794. </p><p>
1795. Let's begin. </p><hr/><div id="tableOfContents" name="tableOfContents">
1796. <p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="How to Write a Press Release (Free Template)" class="rm-shortcode" data-rm-shortcode-id="e9b1a4c412e56646ca584b22fe887409" data-rm-shortcode-name="rebelmouse-image" id="f2c01" loading="lazy" src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34050999&width=980"/>
1797. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Spotlight'</small>
1798. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Participant Media</small></p></div><h2 id="How+to+Write+a+Press+Release+For+Your+Film++TV+Show++Web+Series++Etc+" name="How+to+Write+a+Press+Release+For+Your+Film++TV+Show++Web+Series++Etc+">
1799. How to Write a Press Release for Your Film, TV Show, Web Series, etc.
1800. </h2><p>
1801. Learning to write a press release is one of the most important skills out there. For one, if you are looking for an entry-level job in film and TV, having press release skills can help your resume get noticed.
1802. </p><p>
1803. News outlets want effective press releases to help fill in stories of the day for their target audience.
1804. </p><p>
1805. Another reason is that many freelance or independent filmmakers have lovely ideas but are not great at selling them to a new audience.
1806. </p><p>
1807. Getting these skills down will help take your project and carry your voice further.
1808. </p><p>
1809. For the uninitiated, let's dig into a definition of event press releases.
1810. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="How to Write a Press Release (Free Template)" class="rm-shortcode" data-rm-shortcode-id="03765ce2a7bc9a35e59f0fbe5bf5d922" data-rm-shortcode-name="rebelmouse-image" id="e6a5b" loading="lazy" src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34050998&width=980"/>
1811. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Newsroom'</small>
1812. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: HBO</small></p><h2 id="Press+Release+Definition" name="Press+Release+Definition">
1813. Press Release Definition
1814. </h2><p>
1815. A press release is an authorized report delivered to the media whose purpose is to provide news, give a statement, or make an announcement for an event or premiere.
1816. </p><p>
1817. They are a primary source of information for reporters to base a story or broadcast on. Releases include important facts, dates, products or services, and messaging.
1818. </p><h2 id="The+Benefits+of+a+Press+Release" name="The+Benefits+of+a+Press+Release">
1819. The Benefits of a Press Release
1820. </h2><p>
1821. Going off what we stated above, a press release serves as an information dump for the media. It tells them why what you're doing is important and why they should tell other people about it.
1822. </p><p>
1823. A great press release should not only get people to report on things, but it should also get the public's interest in the event.
1824. </p><p>
1825. Aside from that, it is also a cost-effective way to spread your message. You can attach it to an email and send it to every major newspaper and website fairly easily.
1826. </p><p>
1827. So why are you going to send out press releases?
1828. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="How to Write a Press Release (Free Template)" class="rm-shortcode" data-rm-shortcode-id="9ece8ce8661a47ecf27ae45cbd3e4e04" data-rm-shortcode-name="rebelmouse-image" id="46da1" loading="lazy" src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34051000&width=980"/>
1829. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Confess, Fletch'</small>
1830. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Miramax</small></p><h2 id="Types+of+Press+Releases+" name="Types+of+Press+Releases+">
1831. Types of Press Releases
1832. </h2><p>
1833. There are lots of reasons you would issue a wide release. Here are just a few I think are worth mentioning individually.
1834. </p><h3 id="Breaking+News+" name="Breaking+News+">
1835. Breaking News
1836. </h3><p>
1837. This is the most popular reason people send press releases. Breaking news can be anything from a movie release to a casting notice or another sort of funding. In fact, every other category in this section could be considered breaking news.
1838. </p><p>
1839. But if you're the one breaking it, make sure your headline has a sense of urgency and directness.
1840. </p><h3 id="Product+Launches" name="Product+Launches">
1841. Product Launches
1842. </h3><p>
1843. If you have a product you're launching like<a href="/best/screenwriting/screenwriting-software"> screenwriting software</a> or a camera dolly, you may want to tell the world about it.
1844. </p><p>
1845. In these kinds of releases, lead with why your product is important and how it can change the marketplace.
1846. </p><h3 id="Mergers+or+Acquisitions+" name="Mergers+or+Acquisitions+">
1847. Mergers or Acquisitions
1848. </h3><p>
1849. We've seen many companies like <a href="/CAA-ICM-merger-complete">CAA/ICM</a> and even places like <a href="/What-does-Disney-own">Fox/Disney merge</a> or acquire one another. When you want to control the narrative around the story and give a new point of view, a press release is crucial to making sure people are talking about the points you want them to focus on.  
1850. </p><h3 id="Awards+" name="Awards+">
1851. Awards
1852. </h3><p>
1853. When awards season rolls around, you'll see news releases by the dozens. Everyone wants their clients to shine, and when awards come around, they also want everyone to be aware of who won them, even when shows are airing.
1854. </p><p>
1855. Plus, maybe you have a product that's won an award and want to share that too.
1856. </p><h3 id="Rebranding+" name="Rebranding+">
1857. Rebranding
1858. </h3><p>
1859. There are many times a company wants to change the way it's viewed by the public. Under that umbrella, they will draft a press release that enlightens people about what they do now and how their new brand will flourish.
1860. </p><h2>
1861. How to Write a Good Press Release
1862. </h2><p>
1863. The best press releases summarize why the information provided is newsworthy and provide urgency in the need to publish. Whether that's a date where something expires, a premiere, or a passing event, they challenge the reporter to stop what they're doing and write about this thing.
1864. </p><p>
1865. But what are some other key items to include in your release?
1866. </p><h3 id="Key+Items+a+Good+Press+Release+Includes++" name="Key+Items+a+Good+Press+Release+Includes++">
1867. Key Items a Good Press Release Includes:
1868. </h3><ol><li>A short, bold title that emphasizes why we should care. </li><li>A subheading that summarizes the news that will follow. (usually italicized)</li><li>The location where the news comes from (what part of the country)</li><li>Two to three paragraphs of important details</li><li>A list of bulleted facts or statistics useful to the article. </li><li>Several "pull quotes" to be used in the article. </li><li>Contact details (phone number, email address) if the reporter wants to follow-up </li></ol><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="How to Write a Press Release (Free Template)" class="rm-shortcode" data-rm-shortcode-id="4a4f4d346145840a2fd8d6220b3d0e00" data-rm-shortcode-name="rebelmouse-image" id="ef7ee" loading="lazy" src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.png?id=34051001&width=980"/>
1869. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Zodiac'</small>
1870. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Warner Brothers</small></p><h2 id="Free+Press+Release+Format+Template+" name="Free+Press+Release+Format+Template+">
1871. Free Press Release Format Template
1872. </h2><p>
1873. Want to write your own press release? Well, if you copy and paste what we have below, this template should help you on your journey.
1874. </p><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="Screen_shot_2022-11-03_at_1" class="rm-shortcode" data-rm-shortcode-id="3edfcb9f95594681f66198f732b0b28f" data-rm-shortcode-name="rebelmouse-image" id="f8672" loading="lazy" src="https://nofilmschool.com/media-library/screen-shot-2022-11-03-at-1.png?id=34051002&width=980"/></p><h3>
1875. PRESS RELEASE TEMPLATE:
1876. </h3><ul><li>SHORT, BOLD PRESS RELEASE HEADLINE</li><li><em>Subtitle which summarizes the news and its importance</em></li><li>[CITY, Month, Day, Year] — opening line that tells the reporter why this is newsworthy and who is bringing the story to them.</li><li>Important detail paragraphs that tell us the information we might want to hear. </li><li>Bulleted facts or stats, which can be used for the report.</li><li>Quotes that help emphasize what makes this special.</li><li>End with another brief summary and your contact info if they want to learn more (this is called the boilerplate).</li><li>End the press release with "###" centered so the reader knows the release is concluded.</li></ul><p class="shortcode-media shortcode-media-rebelmouse-image"><img alt="How to Write a Press Release (Free Template)" class="rm-shortcode" data-rm-shortcode-id="2546a59ccc040b76735baabcac0ab1ac" data-rm-shortcode-name="rebelmouse-image" id="c75df" loading="lazy" src="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34051003&width=980"/>
1877. <small class="image-media media-caption" placeholder="Add Photo Caption...">'Jaws'</small>
1878. <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: Universal Pictures</small></p><h2 id="Summing+Up+How+to+Write+a+Press+Release+" name="Summing+Up+How+to+Write+a+Press+Release+">
1879. Summing Up "How to Write a Press Release"
1880. </h2><p>
1881. Now that you have the tools to write a press release yourself, go out and apply them. Write the release that gets national coverage and tells people about your project and the creators involved.
1882. </p><p>
1883. Workshop your headlines and always try to find an angle that feels newsworthy and important to cover.
1884. </p><p>
1885. Use the template and bend it to your own.
1886. </p><p>
1887. If you have suggestions, put them in the comments. Let's all work together to build the best press releases possible.
1888. </p>]]></description><pubDate>Wed, 01 May 2024 18:48:00 +0000</pubDate><guid>https://nofilmschool.com/press-release-template</guid><category>News</category><category>Acquisitions</category><category>Product</category><category>Storytelling</category><category>Headliners</category><category>Press release</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-to-write-a-press-release-free-template.jpg?id=34050996&amp;width=980"></media:content></item><item><title>How to Write Character Introductions (w/ Template)</title><link>https://nofilmschool.com/character-introductions</link><description><![CDATA[
1889. <img src="https://nofilmschool.com/media-library/how-to-write-character-introductions-w-template.png?id=52151078&width=1200&height=800&coordinates=189%2C0%2C189%2C0"/><br/><br/><p>When I'm watching a movie or TV show for the first time, I always pay attention to how they introduce their characters. I want to know how the writers craft a scene that gets the most out of their <a data-linked-post="2661198731" href="https://nofilmschool.com/protagonist" target="_blank">protagonist</a> or <a data-linked-post="2661198710" href="https://nofilmschool.com/antagonist" target="_blank">antagonist</a> and how that scene sets them off on their journey. </p><p> A great character introduction can hook an audience, etch an image in our minds, and leave us craving more. And keep us watching or reading a <a data-linked-post="2661190088" href="https://nofilmschool.com/spec-screenplay" target="_blank">spec</a>. </p><p>On the other hand, a bungled introduction can make even the most intriguing character fall flat in seconds. So, how does one nail that crucial first impression?</p><p>Let's dive in. </p><hr/><h3>It All Starts From Character</h3><br/><img alt="It All Starts From Character" class="rm-shortcode" data-rm-shortcode-id="9faa18533292c021c226ab0c3aa73456" data-rm-shortcode-name="rebelmouse-image" id="1c686" loading="lazy" src="https://nofilmschool.com/media-library/it-all-starts-from-character.jpg?id=34051006&width=980"/><p>The first thing I do when writing a new screenplays is I figure out who my characters are. I do this by <a data-linked-post="2661197896" href="https://nofilmschool.com/character-development" target="_blank">developing</a> them in a way where I know what the story needs from them and how to develop their <a data-linked-post="2661197986" href="https://nofilmschool.com/character-arc" target="_blank">arcs</a>. </p><p>Once those decisions are made, I try to introduce them in a way that feels unique to who they are, and hints at who they need to become. </p><p>So if a character is a wimp, I'd introduce them being bullied, and show the audience a slight hint at what that arc should be moving forward. </p><p>Or if I was introducing a villain, I would have them doing something villainous.  </p><p>No matter what, your character introduction should reveal to the audience something about the person they're about to meet. </p><p>And that should be dictated by who they are as a person. </p><h3>Visuals and Character Introductions </h3><br/><img alt="Visuals and Character" class="rm-shortcode" data-rm-shortcode-id="7602e7a3987303918686eab8592c03ab" data-rm-shortcode-name="rebelmouse-image" id="8dd3c" loading="lazy" src="https://nofilmschool.com/media-library/visuals-and-character.png?id=52151093&width=980"/><p>Film and television are fundamentally visual mediums. Often, our first encounter with a character is a purely visual one, before a single word is spoken. </p><p>Think of the chilling silhouette of Darth Vader against the backdrop of a captured rebel ship, or the striking close-up of Holly Golightly gazing into Tiffany's window as she nibbles on a pastry. </p><p>Costume, setting, body language all contribute to building a character's image before the story even begins to unfold.</p><p>Let your visuals amplify the <a data-linked-post="2662279726" href="https://nofilmschool.com/what-is-characterization" target="_blank">characterizations</a> of these people. </p><p>Think of unique ways to expose them.</p><h3>The Best Character Introduction Examples</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="8a3ca5033fac1e49fe4dc0016bc78ec4" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/9LXPqSEgP7I?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Introducing characters in film and television is, ultimately, about striking a balance. It requires a deft combination of visual storytelling, purposeful action, carefully chosen <a data-linked-post="2661198137" href="https://nofilmschool.com/how-to-write-dialogue" target="_blank">dialogue</a>, and perhaps a dash of the intangible, the 'it' factor that makes certain characters rise above the page and come alive on screen.</p><p>Let's look at a few examples. </p><h3>Iconic and Powerful</h3><ul> <li><strong>Hannibal Lecter (<em>The Silence of the Lambs</em>):</strong> Despite being imprisoned, his eerily calm demeanor, piercing stare, and refined mannerisms convey a chilling intelligence and unsettling authority.</li> <li><strong>The Bride (<em>Kill Bill Vol. 1</em>):</strong> Bloodied and determined, we're introduced to her through her quest for vengeance. It's raw, visceral, and instantly establishes her as a force to be reckoned with.</li><li><strong>Trinity (<em>The Matrix</em>):</strong>  Her opening scene, defying gravity with slick leather and stylized fight moves, showcases her as a powerful and mysterious figure within the simulated world.</li>
1890. <li><strong>The Terminator (<em>The Terminator</em>):</strong> The Terminator's arrival, naked and amidst bursts of electricity, followed by his relentless pursuit of Sarah Connor, immediately cements him as an unstoppable, inhuman threat.</li> </ul><h3>Unforgettably Quirky</h3><ul> <li><strong>Jack Sparrow (<em>Pirates of the Caribbean: The Curse of the Black Pearl</em>):</strong> His grand entrance, drunkenly sailing a barely-afloat boat into port, immediately paints him as a lovable, eccentric rogue.</li> <li><strong>Jules Winnfield (<em>Pulp Fiction)</em>:</strong> His philosophical ramblings and the now-iconic "Ezekiel 25:17" speech set the tone for the uniquely stylized and violent world of the film.</li><li><strong>The Dude (<em>The Big Lebowski</em>):</strong> Shuffling around in his bathrobe, perpetually laidback and obsessed with White Russians, he's an instant emblem of offbeat charm and a life lived outside the norm.</li> </ul><h3>Subtle Yet Effective</h3><ul> <li><strong>Marge Gunderson (<em>Fargo</em>):</strong> Her small-town charm, folksy accent, and persistent politeness sharply contrast with the brutal murders she investigates. The juxtaposition makes her both likable and shrewd.</li> <li><strong>Tony Soprano (<em>The Sopranos</em>):</strong> The opening scene, where he sits in a therapist's office, establishes both his ordinary suburban life and the inner anxieties that plague him.</li><li><strong>Vito Corleone <em>(The Godfather</em>):</strong>  His opening scene, calmly listening to a request on his daughter's wedding day, uses quiet moments and subtle gestures to establish immense power and unspoken influence.</li></ul><h3>Try This Character Introduction Template</h3><br/><img alt="Try This Character Introduction Template" class="rm-shortcode" data-rm-shortcode-id="1fec676a0b00b06f9cca5e37fc532620" data-rm-shortcode-name="rebelmouse-image" id="e89cb" loading="lazy" src="https://nofilmschool.com/media-library/try-this-character-introduction-template.jpg?id=34056455&width=980"/><p>Alright, so you read through and still need some help? We developed this template to help you suss out how to introduce your characters in your movies and TV shows. </p><p>It takes all the basics of what we've talked about and amplifies it from there. </p><p>I also think the intro gets boiled down to just the first scene, when really in all of act one you're giving us more and more about the character. So I tried to make the template help carry you deeper into the story as well. </p><h3>Character Introduction Template</h3><p><strong>1. The Basics</strong></p><ul> <li><strong>Name:</strong> Consider the significance of the name.</li> <li><strong>Age (and general age appearance):</strong> Does their age match their appearance? Does it influence their worldview?</li> <li><strong>Role in the Story:</strong> Protagonist, antagonist, supporting role, mentor, etc.</li> </ul><p><strong>2. Visual Impression</strong></p><ul> <li><strong>Physical Description:</strong> Focus on distinctive features, body language, style of dress. What do these things tell us about them?</li> <li><strong>Setting:</strong> Where do we first encounter them? What does this location say about their life circumstances?</li> <li><strong>Iconic Prop/Object:</strong> Is there an item immediately associated with them? (Glasses, a weapon, a particular piece of clothing, etc.)</li> </ul><p><strong>3. Action Beats</strong></p><ul> <li><strong>First Action:</strong> What's the FIRST thing they DO that we see? Make it count.</li> <li><strong>Defining Moment:</strong> A key scene/choice that reveals their core personality (brave, cowardly, compassionate, selfish, resourceful, etc.)</li> </ul><p><strong>4. Words that Matter</strong></p><ul> <li><strong>Voice/Speaking Style:</strong> Formal, casual, slang, accent? Does it match their appearance?</li> <li><strong>Key Quote:</strong> A memorable line that gives insight into their mindset or beliefs. It doesn't need to be from their first appearance but should be an early, defining line.</li> </ul><p><strong>5. The Intangibles</strong></p><ul> <li><strong>Overall Vibe:</strong> What kind of emotional impression do they leave (menacing, comforting, quirky, unsettling)?</li> <li><strong>The Hook:</strong> What's the question or mystery about this character that makes the audience want to know more?</li> </ul><p><strong>How to Use the Template</strong></p><ul> <li><strong>Don't fill every box:</strong> It's about sparking ideas, not a rigid checklist.</li> <li><strong>For existing characters:</strong> Use the template to analyze why their intro works (or doesn't).</li> <li><strong>Consider your Genre:</strong> A comedic intro needs different elements than a thriller.</li> </ul><p><strong>Example (Abbreviated)</strong></p><ul> <li><strong>Name:</strong> Sarah Connor</li> <li><strong>Age:</strong> Early 20s, but appears world-weary</li> <li><strong>Role:</strong> Protagonist</li> <li><strong>Physical Description:</strong> Muscular, unassuming clothes, short hair—practical</li> <li><strong>Setting:</strong> Diner where she works as a waitress</li> <li><strong>First Action:</strong> Notices unusual man watching her, subtly checks the exits</li> <li><strong>Key Quote:</strong> "You still don't get it, do you? He'll find her! That's what he does!"</li> <li><strong>Overall Vibe:</strong> Capable, but fear simmers just below the surface</li> <li><strong>The Hook:</strong> Who is 'he'? Why does it seem impossible for her to hide?</li></ul><p class="">At the end of the day, your intros are going to be as unique and voicey as the story you're writing. They're a great opportunity to excite the reader and get an actor excited about playing one of these roles. </p><p>So put in extra effort to make them standout. </p><p>Let me know what you think in the comments. </p>]]></description><pubDate>Wed, 01 May 2024 18:06:12 +0000</pubDate><guid>https://nofilmschool.com/character-introductions</guid><category>Character</category><category>Character analysis</category><category>Character arc</category><category>Character development</category><category>Character introductions</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/how-to-write-character-introductions-w-template.png?id=52151078&amp;width=980"></media:content></item></channel></rss>

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