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Incorporate. Talk to an attorney about incorporating your future production company.

I figure this is the Filmmaker Cafe, so why don't we share some of our favorite stories from our experiences in filmmaking? I'll start with the question, has anybody ever seen the Green Flash of Death? For people who don't know what it is, when you turn on a light in one of the Mole Basic...

Substance and technique should be the things that define your style. If what you are trying to do is see if your style has a place to fit in the world of screenwriting, then first focus on the basics: format, story structure, character development. Once you get a good story idea, write it...

I'm not sure what it is you want people to write. I didn't even follow the script all that well. Perhaps you could give us some more information to go on or let us know if you want critiques of your work.

A great proposal for a film looks like a great proposal for a new business that you would take to the bank in order to get a loan. One of the best that I've seen included a synopsis of the project, storyboards, basic line-item budget, time-frame, as well as anybody attached.

Is it a comedy, drama, or a mix?

So I'm working on a script right now that has gone through so many evolutions, it's practically sickening. But, in conjunction with producing a television show, I've come to a realization: Characters exist as nothing more than screen images. The script I'm working on is very autobiographical...

Does anybody remember that first script they ever wrote, and why they decided to sit down and write it? If you have a great, funny, or interesting story, let's hear it. I'll start: I was in my sophomore year of high school. My grandmother had been living with us for almost ten years because...

So I've been sitting at my computer for what seems like weeks at a time, trying to redo the characters in my next feature. I've been accused of writing characters that are too much like stereotypes. Now, my characters may display some signs of the cliche, however, there is a reason that...

Just thought I'd query everybody and see what their different methods of editing are. I'm currently re-writing one of my features for something like the bajillionth time. Thoughts and/or ideas? Because, as all good writers know, the great writing is not in the writing, it's in the re-writing.

And because the director will change all of this anyway. Unless you're directing. But, again, the script is for the actors. Keep notes if you are directing, and just keep those seperately.

Details are fine if they are important to the story. For example, telling us that a pocket watch has "the telling gold lace, and in-laid diamond studs" can be important if those facts later tell us something, like that the watch was owned by Louis IVX of France, who was a student of the occult...

It's funny. The twist at the end (I won't spoil it for anybody who hasn't seen it) is hilarious, because I never saw it coming based on how you set it up. Great job!

Some more thoughts on questions to ask when writing a story. Can even be used as a generic structure arc. My suggestions here have been used in reference to crating internal struggle in a character (want vs. need), but you could substitute anything there if you wanted. Structure/Arc 1...

So I'm sure that as everybody writes their scripts, they may get to the end of the movie and realize, "holy crap! my protagonist is kind of a wuss!" I just had this revelation, and asked somebody about it. Kevin Willmott, one of my professors at University of Kansas, as well as my good...

It's the McGuffin, so who cares?

Keep the shotgun mic close, as in lots of close ups and two shots. For any long shots, ADR it.

Just a quick question. If I wanted to saturate a shot with a specific tint or coloring, how could I do that on a digital camera? I know that I could use gels on lights, but that I could also do it with white balancing. Any thoughts?

In answer to the question, the set designer is under the supervision of the art director. The art director is under the supervision of the production designer, who essentially designs the look of the physical world within the film.

NUmber 3 looks like a shallow, low-light fill aimed at the back of the left subject's head, and another shallow fill on the background coming from the right.