View allAll Photos Tagged scriptwriters
Remembering board member of our NGO SAKSHI, extraordinary human being - Kamleshwar (6 January 1932 – 27 January 2007). A prominent writer, and scriptwriter for Hindi cinema and television. Among his most well-known work are the films Aandhi, Mausam, Chhoti Si Baat and Rang Birangi.
He was awarded the 2003 Sahitya Akademi Award for his Hindi novel Kitne Pakistan (translated in English as Partitions), and also the Padma Bhushan in 2005.
He is considered a part of the league of Hindi writers like Mohan Rakesh, Nirmal Verma, Rajendra Yadav and Bhisham Sahni, who left the old pre-independence literary preoccupations and presented the new sensibilities that reflected new moorings of a post-independence India, thus launching the Hindi literature's Nayi Kahani ("New Story") movement in the 1950s.
#jashnehind #JashneHind #Kamleshwar #Hindiwriter #MridulaTandon #JashnEHind1
Alfons, Scholing, Design, Creative, Portfolio, Content, Concept, Music, Movies, Television, Animation, Online, Offline, Software, Industrial Design, Art Direction, Creative Writing, Writer, Script Doctor, Script Writer, Research, Analysis, Strategy, Concept, Analytics, Design, Philosophy, Epic, Story Telling, Royalty, King, Boss, Social Media, Personal Brand,
Beatles - Yellow Submarine
youtu.be/m2uTFF_3MaA?si=NwLHamGysJpZlUHP
A Yellow Submarine Christmas Tree ornament.
Yellow Submarine (1968) is an animated full-length film based on the music of The Beatles. It is also the title of the film's album of music, which is part of the Beatles' musical oeuvre. The film was directed by Canadian-born animation producer George Dunning, and produced by United Artists and King Features Syndicate. With over 200 employees, chief designer Heinz Edelmann and director Charles Dunning worked on the film for eleven months. The animators came from England, but also from the USA and other countries in Europe. The real Beatles themselves do not appear until the final scene of the film.
In 1963, the American film studio United Artists approached The Beatles' manager Brian Epstein for a contract to make a number of films around the group. Epstein saw the deal as a good way to promote The Beatles and sell their music. United Artists was particularly interested in the money that would come in from selling the music albums. The Beatles were under contract to Capitol Records in the US, but that agreement excluded music albums. The studio knew that album sales would always make money even if the film flopped, so they saw the film deal with The Beatles as one in which they could not lose. On the other hand, the deal United Artists made with Epstein was not very favourable to The Beatles. Epstein was not a good negotiator and was an amateur in many financial matters. Admittedly, The Beatles were not at their peak of popularity at the time (certainly not in the US), but even in that context it was a disappointing contract. He had no idea of the normal profit percentages that could be negotiated, so he proposed a 7.5 % share. The United Artists studio bosses couldn't believe their luck; they had been afraid of tough negotiations and perhaps a higher percentage than 25%, and now Epstein came up with the ludicrous 7.5%. They immediately made a deal for three films. Not long after, the Beatles' popularity shot through the roof (also in the US), and Richard Lester made the first Beatles film A Hard Day's Night one of the most successful films of all time. This did not only deprive The Beatles of millions in earnings. They were also stuck with a financially disappointing film contract that would hang around their necks like a millstone.
The second film that The Beatles made for United Artists was Help, also directed by Lester. Although the film was as successful as its predecessor, the Beatles were not very enthusiastic about the end result. They were afraid of getting stuck in the format of "the happy adventures of the Beatles". But Brian Epstein had signed a contract with United Artists in 1963, and the film production company demanded a third film. All sorts of ideas were floated, such as a film adaptation of J.R.R. Tolkien's The Lord of the Rings with Ringo as Frodo and John as Gandalf, but the third film did not materialise. In 1967, the four Beatles thought they could direct themselves and made the television production "Magical Mystery Tour". The TV movie was broadcast by the BBC in black and white and was received by viewers and critics with dismay. After this, The Beatles' interest in films dropped to a low point. Their manager Brian Epstein came up with the solution. He was approached by Al Brodax, the head of King Features Syndicate, with the idea of making a full-length animated film based on a number of Beatles songs. The idea was based on the animated series about The Beatles that had been broadcast since 1965. TVC produced this series, in which an animated adventure was always made around a Beatles song. The Beatles were excited because they did not have to contribute to the film. But for this very reason, United Artists rejected Yellow Submarine as the third film. It was only with the documentary Let it Be that the Beatles fulfilled their contractual obligations. However, Yellow Submarine was a hit in cinemas and the critics were also enthusiastic. They especially praised the innovations in animation. The drawn appearance of The Beatles was based on the appearance of the real Beatles at the time of the recording of the film that accompanied the single Strawberry Fields Forever. Only, Paul McCartney's moustache had disappeared from his alter ego in the film. The Beatles themselves, who had expected some kind of Disney film, were pleasantly surprised by the result of Yellow Submarine and decided to appear in the final scene themselves.
The starting point for the film was the song "Yellow Submarine". Paul McCartney wrote it as one of the songs that drummer Ringo Starr could sing with his limited singing voice. It was intended as a children's song with simple lyrics and melody. Subsequent accusations that "yellow submarines" were a code name for yellow pills, namely Nembutol capsules, so-called "downers" (hence "submarine": submarine) were dismissed by McCartney. Producer Lee Minoff based himself on the idea of a children's song and wrote the first draft of the story. Soon, several scriptwriters were working on the scenario. It was decided to include a number of recent Beatles songs alongside 'Yellow Submarine'. Some of these songs were taken from the album Sgt. Pepper's Lonely Hearts Club Band. This Beatles album, released in 1967, caused a sensation in the music world. The idea behind the album was that The Beatles were transformed into the fictional pop group Sgt. Pepper's Lonely Heart Club Band. On the cover, they can be seen in satin military uniforms in bright colours. This was the impetus for the idea of including in the film a Sgt. Pepper who lives in Pepperland with his band. At one point, there were about twenty versions of the screenplay circulating. One of the writers was Roger McCough, a poet from Liverpool, who contributed much to the dialogues with their typical ambiguities, expressions from Liverpool, and private jokes from The Beatles. McCough received 500 pounds for his contribution, but no mention in the credits. Mention was made of Jack Mendelsohn and Erich Segal. Mendelsohn had worked on the Beatles' animated series, but Segal was unfamiliar with the film business in 1967. He was working at Yale as an assistant to the professor of Classics. He was brought to London by Brodax to put together a coherent script from the large amount of material, some of which consisted only of fragments. Segal worked on the script continuously for several weeks under the threat of a deadline. He was barely allowed to leave his hotel room to jog. However, Segal was able to take advantage of a brilliant suggestion by lead designer Heinz Edelmann. During a production meeting, the collaborators came to a disturbing conclusion: the screenplay lacked an enemy. Pepperland was a paradise without a snake. Edelmann came up with the concept of the Blue Meanies and their attack on everything that smelt of music. (Incidentally, the meanies were originally red, entirely in keeping with the Cold War. An error by Edelmann's assistant caused the colours to be switched and the meanies became blue). Despite all the creative contributions, Yellow Submarine's screenplay also suffered from the fact that the music overshadowed the story and the story was adapted to the songs. It did result in a modern fairy tale about the 1967 hippy generation.
Source: Wikipedia (Dutch), and IMDb.
HOOQ – the largest Video on Demand service in South-East Asia — calls for film professional, be it directors, producers, or scriptwriters to send in scripts and treatments for a TV-series idea they have.
visit www.nognoginthecity.com
Congrats to the VIC's Travis Greer, co-star of "Dissolution," which won "best filmmaker - college division" award at the 10-10-10 Student Filmmaking and Screenwriting Competition at the Santa Barbara International Film Festival on February 6. Best wishes to Travis, filmmaker Brent Rumble, screenwriter Katherine Waskul, and the rest of the cast and crew!
20 student filmmakers and scriptwriters selected to compete in this year’s competition. After a screenwriter was randomly paired with a director in the same division, the crew had 10 days to produce a 10-minute film.
Item: Clooney scriptwriting session (Digital Photograph)
Code: MF/005/008
Author: Warren Andrews
Date: 2011.03
Archived 2011.04.25.W
Physical Filing: N/A
Showcase: N/A
Mansour Ghadarkhah was born in 1956 in Iran
and immigrated to Germany in 1979.
Formerly a successful filmmaker and scriptwriter
for TV and cinema in Europe,
he has traveled extensively and connects the perspectives
of West and East, viewing himself as a citizen of both.
Ghadarkhah loves photography and digital art. His home is now California,
where he works on his film projects and digital art photography.
Just wrapped a #video shoot with #Baltimore based Hungry Harvest.
Terrific folks with a great #business model. #food #produce #reclaimedfood videoproductionwashingtondc
#corporatevideoproduction
#webvideoDC
#promotionalvideo
#videoproductioncompany
#trainingvideosMaryland
#productvideoVirginia
#websitevideomaryland
#washingtondcvideoproduction
#videoproductiondc
#corporatevideodc
#videographersdc
#videoproductionbaltimore
#bestvideoproductioncompany
#videoproductionVirginia
#videoproductionmaryland
#videoproductionservices
#video production
#videomarketing
#videoseo
#seo
#contentmarketing
#videography
#videoediting
#marketing
#corporatevideo
#cinema
#cinematography
#cinematographer
#filmlife
#production
#productionlife
#setlife
#onlocation
#filmmaking
#filmmaker
#commercial
#c100 #canon
#4k
#canonusa
#cinemaeos
#videomarketing #contentvideo #seo #videoseo #gripandgaff #scriptwriting #scriptwriters
via
Freelancers are handy to have around. When you need a small job done, a specific skill implemented, or a low-budget, quick-fix option, they’re often the perfect solution.
However, when you’re dealing with a large-scale project, freelancers become more effort than they’re worth. With different time zones, different attitudes, and different visions for the project, managers (that’s you!) often find themselves to be the bottleneck for all communications and workflows. With an ever-expanding spiderweb of collaborations, deadlines, and submissions, even the best project managers struggle to keep up.
Let’s take a look at a few of the reasons why working with a full production team will save you a big old sack full of headaches.
Play the system
We’ve been making videos for a while now. Like a crack team of navy seals, everybody in our team knows their roles, what they need to be doing, and when they need to do it.
We also know where problems can occur and have already put systems in place to avoid difficulties further down the line. For example, our storyboarding and illustrations process weeds out any tricky amendments before we get to the production stage, saving time and money during the final animation stage. It’s little nuances like this that make all the difference in stopping your costs getting out of control.
Jack of few trades, master of one
When you’re dealing with freelancers, it can be costly to source new talent for each job you need doing. For this reason, project managers often like to double down on the talent they have at their disposal. Questions like “can you also write the script?” start cropping up. Suddenly, your animator is also designing characters, your scriptwriter is doing the voice work, and your director is serving everybody coffee.
Whilst this seems like a solid time-saving strategy, it’s likely that you’ll end up with lacklustre quality in many of the key areas of your video. The truth is, an animator is not a creative designer, a scriptwriter probably isn’t great at accents, and your director doesn’t know an espresso from their own elbow.
When working with us, you get professional quality script writing, professional graphic design, professional animation – all because our staff are specialists in their chosen fields.
A better experience
When you have a full team at your disposal, you start to see the project from a different point of view. Rather than spending your time focusing on deadlines, output, and problem-solving, you can turn your attention to top-level issues about the video’s creative direction.
Does the script capture your brand voice? Are your value propositions persuasive enough? These are the kind of questions that you now have time to consider. And, with our carefully considered amendments system, you’ll have space to request changes and focus on the things that matter.
Guaranteed output
If you’ve ever had a freelancer go unresponsive half way through a project, you’ll understand what a nightmare this can be. Not only have you wasted time and money on getting the project this far, you’ll have to spend more time briefing a new freelancer to rebuild their half-finished work from scratch. It can be enough to put your project in the ground for good.
With our production team, this sort of eventuality simply can’t happen. Once you sign on with us, you’re guaranteed to get your project at the end of it. We always deliver.
Service with a smile
There’s one final advantage a production team has to offer; great customer service! With one team, one vision, and one brand behind your build, we have the time and patience to listen to your needs. For us, it’s a delight to be working with you.
Ready to work with a full-scale production team to produce your explainer video? Get in touch today by emailing info@clarityanimations.com
The post The 6 big benefits of working with a full-scale production team appeared first on Clarity Animations.
www.clarityanimations.com/explainer-video-production/6-bi...