The 2nd and 3rd Act
If a screenplay, novel or even short story is going to fall apart it is going to happen in the 2nd act. Many scripts have been written that both start well and finish well but are unbearable throughout the middle. Typically a screenplay will be structured as thus: Act 1, pages 1-30 Act 2, pages 30-100 Act 3, pages 100-120. So breaking this down the combine total for both act 1 and act 3 is 50 pages, while act 2 typically consists of 70 pages. That's 20 more than both of the other acts combined! 70 pages is a long stretch to get lost in.
So what does the second act consist of and how do you keep yourself from getting lost? It all comes back down to structure and understanding the dynamics of conflict.
Once your hero crosses the threshold he has enter into what Joseph Campbell referred to as the secondary world. Nowhere in cinema can this be better exemplified than through the work of one of Joseph Campbell brightest students; George Lucas. Throwing out anything to do with the prequel (lets just pretend none of that ever happened) examining Star Wars A New Hope, once Luke leaves his home planet he has crossed the threshold and has committed to the journey next the heros are all seized by the empire and dragged into the depths of the Death Star. This world is completely different from the world that Luke knew and was comfortable with. This secondary world is also a stark contrast to Luke's life where once he was safe and amongst friends now he is facing danger around every corner and surrounded by enemies. This secondary world challenges the hero and forces them to fight to survive thusly changing them and molding them into who the could be at the end of the story.
The problem with the second act is that there aren't many waypoints to follow and that is why so many stories die here. Aside from the arrival in the secondary world there isn't a whole lot more to go off of.
Blake Snyder author of Save the Cat has a few suggestions. Using his beat sheet he states that the heros should have a section of Fun and Games to let the audience catch their breath, then a midpoint crisis, then the bad guys should close in before everything seems lost. Now this is all well and fine and there is merit to these words but it is unnecessary if you understand conflict.
The second act is where you get to demonstrate the personality of your hero. This personality is not demonstrated through words or neat camera set ups; it's demonstrated through choices. As the old saying goes: "it's not what you say but what you do that matters." This is as true in life as it is in story. Your hero should be forced into making decisions and choices through rising conflict and tension. The choices demonstrate their character and their will, and they can't be as blatant choices between right and wrong studies have shown that even bad people will always make the right choice so in a story the choice between an action that is right or an action that is wrong is no choice at all. Try to have your hero have to make a choice between two wrong options, or two right options. Make it as difficult of a choice as possible but bear in mind that the difficulty of the choices has to steadily increase. Once the pressure is on it can't lessen only increase.
Keeping the pressure constantly up is done through the three different stages of conflict that should be in every scene of your story. They are: Inner Conflict, Extra-personal Conflict and Exterior Conflict.
Inner Conflict
As the name would suggest this is conflict that the hero has within themselves. This is their personal struggle between what the think is the right action to take. Do you go left? Do you go right? The decision is yours and yours alone.
Extra-personal Conflict
This is the conflict that your hero has between other people. Friends, family, lovers and enemies. Soap operas are dripping with storylines solely diving into extra-personal conflict.
Exterior Conflict
This is the level of conflict with elements outside the human interaction ie The State, Nature, a animated environment.
Theoretically each scene should be built around these three levels of conflict. Although it is not always possible each scene should contain within it elements of each level.
Through the levels of conflict and the steadily increasing tension you should be able to push your story through to the 2nd act climax and move into the 3rd act.
The third act is simple and light compared to the second but it contains within it tricky elements.
All of the conflict of the 2nd act has been leading up to this one event. The hero's quest is almost complete but not before one more battle. One last event that is greater than all those before. All the little clues and points that you have artfully lain out before this even must come together to reveal something greater than the sum of it parts.
The climax of the last act must result in permanent irreversible change for the hero. After this event the hero can no longer be who they were when they started.
The tricky part about this is that all the elements you've raised must be tied off in one single act. If you have developed a sub-plot then it must resolve at the same time as the main story's climax. Think of it as a series of fuses struck at different points in time all with different length and all culminating into one giant explosion of story. If all of the fuses don't meet at the same time the grand explosion turns into a dud and you've got yourself a failure. The best stories are emotionally satisfying. This does not mean that they have to be "happily ever after" but please don't leave a bad taste in your audience's mouth.
There seems to be a trend going around that started with Lost where writers have written endings that don't satisfy. This is the literary equivalent of given the finger and a big FU to your audience. Please don't do this. And if you're someone that has done this then shame on you.
A satisfying ending is your way to say thank you to your audience. Thank you for listening, reading, watching my story that has meant so much to me and as a present I'm going to make you feel good things or bad things but they will enrich your life as a result.
So now armed with what little advice I have at my disposal go forth and write that story that has been eating you up inside. Damn the risks and people's negative opinions. If you master just a little craft then the rest will come and you will be able to write stories that move people, inspire people and make the world that much of a better place because of it.
Good luck.
Monday, May 14, 2012
Monday, April 30, 2012
Story and Structure part 1
Sorry about the delay everyone. I am trying to make sure that I put out a blog every Saturday but this past weekend I was away in Santa Barbara. I posted some pics to my twitter account (@ashcraft_films) so head over there if you want to see some of the pics from the trip.
Before we get started with this entry I am proud to announce that my new website is up and running and you should be sure to go and check it out (www.justinashcraftfilms.com). I am particularly proud of this site because I wrote and designed the whole thing myself using Dreamweaver. I had never touched the application before 3 weeks ago and I think the finished project turned out nicely. To any of you web developers out there my hat goes off to you. If I had to look at one more line of code I think I would go mad lol. If you are interested in learning how to develop your own website there is an amazing tutorial on youtube that you should check out. Click here to view it. It really helped me and I highly recommend it.
Anyway enough self publicity, on with the show.
Story and Structure
Story and structure in an ideal world would not have anything to do with each other. However, in the real world the two are inseparable. Story is everything thing that you as the writer wish to say, story is what makes us watch your film or read your book, it is the core idea from which everything flows. Structure is how you get it there.
Now I can hear the gripes from here; "storytelling should be organic, not imposed upon by something as cumbersome as structure (aka plot). Just relax. For some very gifted individuals this is very true. Structuring and plotting takes away the spontaneity of creativity. But the people who don't need to know how to structure a story are few and very far between. If you're someone with the skill and talent of Stephen King and David Goyer then yes by all means never plot or give structure a second thought. But for the rest of us mere mortals structure and plot are how we finish out manuscripts and endeavor to keep one more piece of work out of the "work in progress" drawer. I may be so bold as to say that even the greats could benefit from a little foresight and planning (I mean I love the works of Stephen King but they do tend to ramble on. Did you read the Dark Tower series? Didn't the ending just piss you off?) but I digress.
So what is the structure of structure? This blog is too small to go into vivid detail about structure but I will outline it and give you some bullet points. Check out my article referring to a few great books on story and structure.
The main unifying structure is the three act structure. Reading this can be a bit disheartening because everyone heard this in school and that was boring blah blah blah. But it's true. If you want to tell a well rounded story three acts is the minimum. You need to have a beginning, a middle and an end. The story has to start, something has to happen along the way and then it needs to be wrapped up. Now you can do more than three acts (Shakespeare sometimes had as many as 19) but three is the minimum.
Act I: The Beginning
For many writers the first act is often times the easiest and most exciting act to write. The waters are well charted with mile points that should be hit by a certain page. For me I usually have the first act completely worked out in my head before I even think about designing the rest of the story.
The main goal of the first act is to introduce the characters and set up the central theme (spine of the story). However there is more to the beginning than just this. If you're a writer (and this holds true for screenplays and novels) you have roughly 5-10 pages at the very beginning of a story to get your audience's attention. This is called The Hook.
The Hook should grab your audiences attention straight off of the bat. In novelistic terms this would be the Prologue. If you want to see an amazing example of The Hook in action watch the first 10 minutes of The Dark Knight, or the first 15 minutes of Saving Private Ryan. Both of these examples grab you by the guts and swing you around. They excite you and get you ready for the show to come. If a story has a really good hook it generally means that the rest of the story will be expertly crafted.
After the hook the next step is the Inciting Incident. The inciting incident is what gets your protagonist off of their ass and into the game. The inciting incident is what spurs the character into action, it is the problem that has to be solved. In the world of your hero, without the inciting incident, things would stay exactly the same. I mean who would willing go on a hero's journey? Do you know how dangerous that can be? Without the inciting incident your character would stay at home and let others take care of things and watch TV.
Therefore your exciting incident has to be compelling. It cannot be a half measure. If your hero doesn't act things will never be the same. A lot of times when a story doesn't have enough punch it usually falls upon the motivation (read inciting incident). For example; if John doesn't have a strong enough reason to go across town then your audience will get bored. If it is just something that he wants to do and not needs to do then you are in big trouble and you will loose your audience. If on the other hand it is something that is of such importance that life as he knows it would be forever changed if he doesn't reach the other side of town then you will keep your audience's attention. Strong stories need strong inciting incidents.
Crossing of the Threshold. There will come a point where your hero will reach a 'point of no return'. This is usually referred to as the threshold. If your hero crosses this threshold he/she will be forever changed and not necessarily for the better. An important part of this, and a mistake that many writers make, is that once your hero crosses the threshold he/she cannot question the quest after this point. If your hero begins to question the journey after he/she has committed then your character will appear weak and a weak character is the kiss of death. Now they may have moments of self-doubt and this is critical and quite important but they cannot quit. For better or worse they are committed.
To ensure that your character is committed a Threshold Guardian will try to block your hero from crossing the threshold. This point is important because it forces your character to prove that they are committed to the journey. There must beat a force that is trying to keep them from their destination. This can be a physical entity, as in Oedipus Rex and the Sphinx, or it can also be an internal entity i.e. your doubts and fears. But defeating this guardian opens up the rest of the world and proves to the hero, and the audience, that they are committed to the journey and that there is no going back.
Typically the crossing of the threshold signifies the end of the first act. Your first act should be roughly 30 pages in length. So that is a lot of ground to cover and a lot of action to take place in the first act.
There are more sub acts and points to be hit depending on which school of thought you belong to, but these points are absolutely critical.
Side Note. I had intended on this entry going over the entire structure of a story but I realized that it is too in depth to go through in one sitting. So instead of trying to write 40 pages at once I'm going to split it up into sections this way I don't have to write all day and you don't get bored reading and never return. I mean who wants to sit through a lecture right? I sure don't. So in the next section I will go into the second and third act structure and try to break it all down.
As always if you have any questions please feel free to contact me. You can send me an email through my webpage www.justinashcraftfilms.com
See you soon.
Before we get started with this entry I am proud to announce that my new website is up and running and you should be sure to go and check it out (www.justinashcraftfilms.com). I am particularly proud of this site because I wrote and designed the whole thing myself using Dreamweaver. I had never touched the application before 3 weeks ago and I think the finished project turned out nicely. To any of you web developers out there my hat goes off to you. If I had to look at one more line of code I think I would go mad lol. If you are interested in learning how to develop your own website there is an amazing tutorial on youtube that you should check out. Click here to view it. It really helped me and I highly recommend it.
Anyway enough self publicity, on with the show.
Story and Structure
Story and structure in an ideal world would not have anything to do with each other. However, in the real world the two are inseparable. Story is everything thing that you as the writer wish to say, story is what makes us watch your film or read your book, it is the core idea from which everything flows. Structure is how you get it there.
Now I can hear the gripes from here; "storytelling should be organic, not imposed upon by something as cumbersome as structure (aka plot). Just relax. For some very gifted individuals this is very true. Structuring and plotting takes away the spontaneity of creativity. But the people who don't need to know how to structure a story are few and very far between. If you're someone with the skill and talent of Stephen King and David Goyer then yes by all means never plot or give structure a second thought. But for the rest of us mere mortals structure and plot are how we finish out manuscripts and endeavor to keep one more piece of work out of the "work in progress" drawer. I may be so bold as to say that even the greats could benefit from a little foresight and planning (I mean I love the works of Stephen King but they do tend to ramble on. Did you read the Dark Tower series? Didn't the ending just piss you off?) but I digress.
So what is the structure of structure? This blog is too small to go into vivid detail about structure but I will outline it and give you some bullet points. Check out my article referring to a few great books on story and structure.
The main unifying structure is the three act structure. Reading this can be a bit disheartening because everyone heard this in school and that was boring blah blah blah. But it's true. If you want to tell a well rounded story three acts is the minimum. You need to have a beginning, a middle and an end. The story has to start, something has to happen along the way and then it needs to be wrapped up. Now you can do more than three acts (Shakespeare sometimes had as many as 19) but three is the minimum.
Act I: The Beginning
For many writers the first act is often times the easiest and most exciting act to write. The waters are well charted with mile points that should be hit by a certain page. For me I usually have the first act completely worked out in my head before I even think about designing the rest of the story.
The main goal of the first act is to introduce the characters and set up the central theme (spine of the story). However there is more to the beginning than just this. If you're a writer (and this holds true for screenplays and novels) you have roughly 5-10 pages at the very beginning of a story to get your audience's attention. This is called The Hook.
The Hook should grab your audiences attention straight off of the bat. In novelistic terms this would be the Prologue. If you want to see an amazing example of The Hook in action watch the first 10 minutes of The Dark Knight, or the first 15 minutes of Saving Private Ryan. Both of these examples grab you by the guts and swing you around. They excite you and get you ready for the show to come. If a story has a really good hook it generally means that the rest of the story will be expertly crafted.
After the hook the next step is the Inciting Incident. The inciting incident is what gets your protagonist off of their ass and into the game. The inciting incident is what spurs the character into action, it is the problem that has to be solved. In the world of your hero, without the inciting incident, things would stay exactly the same. I mean who would willing go on a hero's journey? Do you know how dangerous that can be? Without the inciting incident your character would stay at home and let others take care of things and watch TV.
Therefore your exciting incident has to be compelling. It cannot be a half measure. If your hero doesn't act things will never be the same. A lot of times when a story doesn't have enough punch it usually falls upon the motivation (read inciting incident). For example; if John doesn't have a strong enough reason to go across town then your audience will get bored. If it is just something that he wants to do and not needs to do then you are in big trouble and you will loose your audience. If on the other hand it is something that is of such importance that life as he knows it would be forever changed if he doesn't reach the other side of town then you will keep your audience's attention. Strong stories need strong inciting incidents.
Crossing of the Threshold. There will come a point where your hero will reach a 'point of no return'. This is usually referred to as the threshold. If your hero crosses this threshold he/she will be forever changed and not necessarily for the better. An important part of this, and a mistake that many writers make, is that once your hero crosses the threshold he/she cannot question the quest after this point. If your hero begins to question the journey after he/she has committed then your character will appear weak and a weak character is the kiss of death. Now they may have moments of self-doubt and this is critical and quite important but they cannot quit. For better or worse they are committed.
To ensure that your character is committed a Threshold Guardian will try to block your hero from crossing the threshold. This point is important because it forces your character to prove that they are committed to the journey. There must beat a force that is trying to keep them from their destination. This can be a physical entity, as in Oedipus Rex and the Sphinx, or it can also be an internal entity i.e. your doubts and fears. But defeating this guardian opens up the rest of the world and proves to the hero, and the audience, that they are committed to the journey and that there is no going back.
Typically the crossing of the threshold signifies the end of the first act. Your first act should be roughly 30 pages in length. So that is a lot of ground to cover and a lot of action to take place in the first act.
There are more sub acts and points to be hit depending on which school of thought you belong to, but these points are absolutely critical.
Side Note. I had intended on this entry going over the entire structure of a story but I realized that it is too in depth to go through in one sitting. So instead of trying to write 40 pages at once I'm going to split it up into sections this way I don't have to write all day and you don't get bored reading and never return. I mean who wants to sit through a lecture right? I sure don't. So in the next section I will go into the second and third act structure and try to break it all down.
As always if you have any questions please feel free to contact me. You can send me an email through my webpage www.justinashcraftfilms.com
See you soon.
Sunday, April 22, 2012
Storytelling Resources
If you're interested in knowing and understanding more about story and storytelling here are a few resources to check out.
I have read all of these books and each one claims to contain the Holy Grail to story but I have found that it is better to pick and choose pieces from each. This isn't an exhaustive list by any means, I'm sure there are plenty of great books out there that I haven't even heard of. If you know of any please drop me a line I'm always on the lookout.
The list below has my favorite picks ordered from what I feel is the most useful down. Again, just my opinion you may feel otherwise.
Story Resources
I have read all of these books and each one claims to contain the Holy Grail to story but I have found that it is better to pick and choose pieces from each. This isn't an exhaustive list by any means, I'm sure there are plenty of great books out there that I haven't even heard of. If you know of any please drop me a line I'm always on the lookout.
The list below has my favorite picks ordered from what I feel is the most useful down. Again, just my opinion you may feel otherwise.
Story Resources
- On Writing, a memoir of a craft by: Stephen King
- Story by: Robert McKee
- The Writers Journey by: Christopher Vogler
- A Hero with a Thousand Faces by: Joseph Campbell
- Stealing Fire from the Gods by: James Bonnet
- Save the Cat by: Blake Snyder
- Emotional Structure by: Peter Dume
- Poetics by: Aristotle (this is the original book on story)
- The Anatomy of Story by: John Turby
That should give you more than enough reading to keep you busy for a while. This list was comprised out of my own thirst for knowledge on story.
The film school that I attended frustrated me when I was attending. The school taught me all the basics of how to record a story but never how to tell a story and thus I went out on my own to find the way. If you want to be a great storyteller it is not mandatory to read and do your research but these books helped shine a light on how to get from point A to point B in the dangerous waters of storytelling.
Saturday, April 21, 2012
The Story
Where to begin?
I think the most logical point to begin when working with a blog dedicated to filmmaking and storytelling is with the story.
There is an old adage in hollywood that nothing begins until you have the story. If you only ever take one nugget of advice from my blog, or from the countless other sites on writing, please take the fact that STORY is King.
A common crime committed by 99% of all film school students is that they forget about their story. Being swept up in the moment they focus on important, but less important, aspects of their film. Most obsess over the perfect framing of a shot, the crisp clear audio, the steady dolly movement and the perfect delivery of a line. All these elements while important to the eventual success of the film are meaningless if the story is lost upon the audience. I have seen plenty of short student films that have amazing visuals and show off the professional level of competence they possess but in the end I couldn't care less about them, or even have told you what they were about because the story wasn't captivating. Therefore they were a failure.
Let me say this clearly. Short films don't have to mean short on story.
The mark of a master is one that can create riveting characters caught in a series of conflicting scenes where they must choose their reaction thusly exposing who they really are and in the process changing them from what they were in the beginning. This in essence is what Story is all about. If you can craft a short story that has characters that can move you emotionally and whom change as a result of conflict then you will have a promising career ahead of you.
If this concept befuddles you don't fret, you'll just have to work a little harder to grasp it. You'll have to struggle and earn the fruits of your labor to come out on the other side significantly changed from the experience. Sound familiar? It should.
But are stories still relevant to modern life? A fair enough question and a simple answer. Absolutely. If anything modern storytelling has consumed our every day existence almost to the point of having nothing left.
Think about your day today. What happened? You probably got up and got ready for work or school and watched the morning news. The news comprised of real life stories happening in your local area. Even if you don't watch the news but instead turn on some show to relax before you begin the day, you're still absorbing story. Every show is a story about a fictional or real life. Even commercials are mini stories designed to inspire you to purchase a product. Throughout your entire day you will relay and absorb stories coming from all of your friends, family and colleagues. The story about how someone was late for school/work. How that boss/teacher was a real ass today. All stories. When you go home it's just more of the same over and over again day after day. I go so far to say that unless you live as a hermit in a cave in the middle of the desert you're going to hear a story; even then you'll dream and a dream is nothing more than your mind telling you a story. So it is inevitable and it is everywhere.
Why? Why are stories so important to us? Because we are human. Call it an unintentional accident as a result of our ability to communicate. Stories at their very basic levels are how we pass our hard won knowledge on to others. Many sociologist believe that storytelling came about because we used stories to keep our offspring from doing things that might harm them. Things that we have already figured out through our own series of trial and error. It is also how we teach about morals. Every religious text is nothing more than a story. It is a story that tries to get across a point about morality and right and wrong befitting a certain belief system.
Stories are powerful tools. They can entice riots and quell rages. They can lift you to the highest forms of love and expression and drive you into the depths of despair. They have an almost unnatural ability to influence you in ways that few things in the real world can.
Think about the movie going experience for a moment. In a crowded room filled with hundreds of strangers you sit shoulder to shoulder you stare at a screen while the lights dim. Collectively you go through the twists and turns and share this experience with everyone in the cinema. You experience the greatest of highs and the lowest of lows. You laugh, you cry. You go through a range of emotions willingly that you would avoid at all cost during your real life and whats more, you're paying to do so. Nothing else could make you go through this except for a well told story.
So I say it again. Story is King. If I only ever write this one blog and if you only ever read one entry take away from this that your story is everything. Tell it well. If you don't pull any punches and you give us the world as you see it with all its imperfections on display then we will love you forever and shower you with roses and gold.
I think the most logical point to begin when working with a blog dedicated to filmmaking and storytelling is with the story.
There is an old adage in hollywood that nothing begins until you have the story. If you only ever take one nugget of advice from my blog, or from the countless other sites on writing, please take the fact that STORY is King.
A common crime committed by 99% of all film school students is that they forget about their story. Being swept up in the moment they focus on important, but less important, aspects of their film. Most obsess over the perfect framing of a shot, the crisp clear audio, the steady dolly movement and the perfect delivery of a line. All these elements while important to the eventual success of the film are meaningless if the story is lost upon the audience. I have seen plenty of short student films that have amazing visuals and show off the professional level of competence they possess but in the end I couldn't care less about them, or even have told you what they were about because the story wasn't captivating. Therefore they were a failure.
Let me say this clearly. Short films don't have to mean short on story.
The mark of a master is one that can create riveting characters caught in a series of conflicting scenes where they must choose their reaction thusly exposing who they really are and in the process changing them from what they were in the beginning. This in essence is what Story is all about. If you can craft a short story that has characters that can move you emotionally and whom change as a result of conflict then you will have a promising career ahead of you.
If this concept befuddles you don't fret, you'll just have to work a little harder to grasp it. You'll have to struggle and earn the fruits of your labor to come out on the other side significantly changed from the experience. Sound familiar? It should.
But are stories still relevant to modern life? A fair enough question and a simple answer. Absolutely. If anything modern storytelling has consumed our every day existence almost to the point of having nothing left.
Think about your day today. What happened? You probably got up and got ready for work or school and watched the morning news. The news comprised of real life stories happening in your local area. Even if you don't watch the news but instead turn on some show to relax before you begin the day, you're still absorbing story. Every show is a story about a fictional or real life. Even commercials are mini stories designed to inspire you to purchase a product. Throughout your entire day you will relay and absorb stories coming from all of your friends, family and colleagues. The story about how someone was late for school/work. How that boss/teacher was a real ass today. All stories. When you go home it's just more of the same over and over again day after day. I go so far to say that unless you live as a hermit in a cave in the middle of the desert you're going to hear a story; even then you'll dream and a dream is nothing more than your mind telling you a story. So it is inevitable and it is everywhere.
Why? Why are stories so important to us? Because we are human. Call it an unintentional accident as a result of our ability to communicate. Stories at their very basic levels are how we pass our hard won knowledge on to others. Many sociologist believe that storytelling came about because we used stories to keep our offspring from doing things that might harm them. Things that we have already figured out through our own series of trial and error. It is also how we teach about morals. Every religious text is nothing more than a story. It is a story that tries to get across a point about morality and right and wrong befitting a certain belief system.
Stories are powerful tools. They can entice riots and quell rages. They can lift you to the highest forms of love and expression and drive you into the depths of despair. They have an almost unnatural ability to influence you in ways that few things in the real world can.
Think about the movie going experience for a moment. In a crowded room filled with hundreds of strangers you sit shoulder to shoulder you stare at a screen while the lights dim. Collectively you go through the twists and turns and share this experience with everyone in the cinema. You experience the greatest of highs and the lowest of lows. You laugh, you cry. You go through a range of emotions willingly that you would avoid at all cost during your real life and whats more, you're paying to do so. Nothing else could make you go through this except for a well told story.
So I say it again. Story is King. If I only ever write this one blog and if you only ever read one entry take away from this that your story is everything. Tell it well. If you don't pull any punches and you give us the world as you see it with all its imperfections on display then we will love you forever and shower you with roses and gold.
Welcome
Welcome to my blog on filmmaking. It is my sincere hope that in this medium we can look objectively at the realm of filmmaking and dissect its working parts to impart you with a greater sense of how to best make your next endeavor.
But, in order to keep things from growing stale and contrived I'm going to throw in other film related topics such as reviews to keep things fresh. I also plan on providing updates and behind the scenes information on the various projects that my company is working on. Projects ranging from commercials to music videos to long and short form narratives.
If you have any questions or suggestions for content feel free to contact me and I will do my best to address them.
But, in order to keep things from growing stale and contrived I'm going to throw in other film related topics such as reviews to keep things fresh. I also plan on providing updates and behind the scenes information on the various projects that my company is working on. Projects ranging from commercials to music videos to long and short form narratives.
If you have any questions or suggestions for content feel free to contact me and I will do my best to address them.
Subscribe to:
Posts (Atom)