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आम्ही छत्रपती शिवाजी महाराजांच्या प्रेरणादायी विचारांवर मराठी चित्रपट बनवत आहोत हे विचार आजच्या तरुण पिढीला गरजेचे आहेत ...
01/09/2023

आम्ही छत्रपती शिवाजी महाराजांच्या प्रेरणादायी विचारांवर मराठी चित्रपट बनवत आहोत हे विचार आजच्या तरुण पिढीला गरजेचे आहेत

हा चित्रपट बनवण्यासाठी खालील स्वरूपात आम्हाला सहकार्याची गरज आहे
स्पॉन्सर्स
डोनेशन्स
पार्टनर्स
इन्व्हेस्टर

ज्यांना आम्हाला सहकार्य करण्याची इच्छा आहे कृपया त्यांनी आम्हाला संपर्क करावा किंवा कुणाच्या संपर्कात कोणी असेल जो आम्हाला सहकार्य करू शकतो त्यांचा कॉन्टॅक्ट आम्हाला शेअर करावा हि नम्र विनंती तुम्ही सहकार्य केलं तर हा चित्रपट नक्की बनेल धन्यवाद

Mobile Number: +91 9653311853

09/10/2016

Call on +91 8552062346 “CHILDREN GOD” is micro budget independent Hindi Bollywood feature film based on issue CHILD LABOUR.

19/04/2015

Free Filmmaking Academy's aim and mission is to Build network of Talents, Techncians and Fimmakers t

How to Be a Better Stage ActorHave you ever wanted to begin acting, or do you just need some pointers on acting? Either ...
04/06/2014

How to Be a Better Stage Actor

Have you ever wanted to begin acting, or do you just need some pointers on acting? Either way, taking these simple steps will improve you as an actor, as well as improve your chances at landing a great role!

1
Relax. Great actors spend their entire careers learning to relax the muscles in their face and body at will. Tension is very obvious when you are on stage. Your voice will sound thin and wavering, and your movements will be jerky and unattractive. To avoid these stiff and nervous displays when you're acting, it is essential to remain as relaxed as possible. Even a scene involving high drama calls for measured and calm concentration from the actor. So, act dramatic, but be calm inside, and don't work yourself up.

2
Focus your attention on something on stage. It could be another actor, a prop, etc. Keep yourself in the moment and never stare off into space. It is obvious to the audience if you are vagueing out and it is very distracting. Keeping in the moment enables you to remain in character and enhances the believability of the role and the play itself. Also, try not to play with your clothes, or use other nervous gestures, just look at the back of the theater, or your focus point, if you are tense.

3
Immerse yourself in the role completely. Forget that you are pretending and try to become the character you are playing. Envision how that person reacts to life, how that person dresses, walks, thinks and converses with others. Don't be afraid to act like someone else, Draw on these visualizations when portraying the character. Always stay in that state of mind when acting. If you try to pretend to be sad, it's an effort; if you are sad, it comes out in your acting well. Do not try to act the character - instead, be the character.

4
Remember that everything is exaggerated on stage. If you're up on a stage, you need to enunciate your words (speak clearly). All the emotions on your face need to be formed in a more intense manner but remember to stay relaxed. If you feel like you'reover-acting, then you're probably acting just enough. Eyes, smile, facial expressions, gestures, etc., need to be more expansive and dramatic than you would ever make them in real life. Be careful if acting in front of a camera, however. Here you must be more subtle, as in real life, because a camera picks up subtleties very easily and broad and exaggerated movements suitable for stage acting often look "hammed up" on film.

5
Treat the little things as being very important. If you're performing for an audience either live, or on film, you need to do everything you can to make the audience believe the character that you're trying to be. If the script says that someone is talking too much, then portray a look or annoyance on your face and perhaps accompany that with impatient tapping of your foot. If you're supposed to be near tears, blink hard, look downwards and fiddle with your clothes, and try to stare without blinking until tears come. Little actions are amazingly noticeable, including very expressive facial features. Include as many of the senses as possible, such as playing music, putting on make-up, turning on some lights; anything that can make the room happy or sad to fit the character and role that you are trying to present. This includes changing your voice, this can be done by spending time with people who have the desired accent, learn the language and or get a voice coach. There are also CD's and books to help you master that accent!

6
Work on projecting. Invest in a cheap recorder (tape, CD, flash drive, whatever you are comfortable with.) Set the recorder far away from you, at least twenty feet( 6 meters), press record, back away. Speak a simple sentence, such as "My shirt is blue and my eyes are too!". Keep trying different sentences ("How now brown cow" is a famous one). Listen to how you sound in the recording. Kick up the difficulty by backing further away each time, causing you to project more.

7
Breath and alliterate. Do numerous vocal warm ups to ensure that you do not strain your vocal cords. Concentrate on enunciating your words so that your voice comes across clearly. Try a complex sentence such as, "Why, oh why haven't you seen those rambunctious twins, Jill and Bill?". Try speaking this with or without emotion. Then replay the recording. Speaking clearly is very important, so, practice by "E-Nuh-Nnn-Css-Iii-Ay-Ting" each syllable. Remember, however, that when you actually act, you can't do this! It simply an exercise that should be done in front of a mirror for practicing purposes.

8
Concentrate on your expressions. Facial expressions are very important and combining facial expressions with vocal responses is an important art of timing. Say a very simple "Oh!" in front of a mirror, each time watching your face and voice. Try the following moods: Sadness, awe, anger, fear, excitement, and any others you can think of.

9
Practice your lines incessantly.
• Make many copies. Write them out or print them out, so that you can just find a copy anywhere. Keep a copy in your bag, your desk drawer, next to your bed, in the bathroom, at the kitchen table, on the wall, in front of a favorite window.
• Read your lines at every opportunity possible - before you go to bed, when you wake up in the morning, waiting for a bus, cooking dinner. Recite the lines over and over again, remembering to include intonation and expressions so that these become second nature when you perform them on stage.
• When you find a long passage, say the first line until you are comfortable with your intonation and phrasing. Then add the next line to the first. Practice your delivery on the first two lines until you are ready to add the next (or start with the last line, then the two last lines, so that by the time you get to doing the entire thing you will be very familiar with the last bit). Once you are comfortable with the lines, you can further explore the meaning of the passage and refine your delivery.

10
Meet people. Get to know a diverse group of people. You can't possibly act like someone you've never met. Talk to people you'd normally not think of spending time with; they can teach you more about different kinds of people and different perspectives on viewing our amazing world.

11
Learn from other actors. It is not cheating or losing your own voice to learn from others. Watch other actors and see what they do with the parts they're given; by doing this, you will learn a lot. You can see things they do that you might help you to further develop your own acting style and give you ideas for overcoming aspects of acting that you might be finding strange or difficult. Ask them questions and ask them for help. Most actors will be more than willing to offer you some advice.

12
Stage Lights kill Stage Fright. If you have a fear of acting on a stage, don't worry. When the house lights go out and the stage lights go on, you won't be able to see the audience, except possibly one or two. It's clear skies after that.

28/05/2014

Script Breakdown: Script and Scene Analysis

A) Director as Story-Teller

There are many facets of a Director’s prep on any film or TV show – from location scouts and creative meetings to casting and scheduling.
But the first, and most important part of your job, is to understand the script – what the story is about; the themes; the story points; the characters.

A director is a story-teller, and to be a good story-teller, you need to understand every detail about the story you are telling. There’s an old expression that says if it doesn’t work in the script, it won’t work on the set – and boy is that true! Understanding the story requires a lot of work on your part because you need to rip the script apart to find out what it is about, what works and what doesn’t.

B) Script Structure

Here is the “traditional” Three Act Structure of any story:

ACT ONE – THE SET-UP (Boy Meets Girl)
ACT TWO – CONFRONTATION (Boy Loses girl – fights to get her back)
ACT THREE – RESOLUTION (Boy Gets Girl)

NOTE: There has been a lot of debate lately on script structure – how many acts there are in a script! Because this is not a writing course, (and every story ALWAYS has a Beginning, Middle and End), I will refer to all scripts as having the traditional Three Act Structure. Even Television scripts follow the Three Act Structure – they are just divided into Act Breaks because that is where the commercials go.
Here is a “general guide” to the physical structure of TV scripts:
1) Half-Hour Episodic TV (22-25 pages and Two Acts)
2) One-Hour Episodic TV (50 – 65 pages and Four Acts)
3) Two Hour TV Movie (100 – 110 pages and Seven Acts)
Television scripts can also be broken down further by using a Teaser and a Tag. So a one-hour TV Script could be divided up like this:
a. Teaser
b. Act One
c. Act Two
d. Act Three
e. Act Four
f. Tag

C) Script Analysis
When you first get your script, find a nice quite place and just read it through once – from start to finish. Your first pass is to get an idea of what the story is about, where it takes place and who the characters are. This is when you form your first impressions of the story and it is probably the only time you will ever enjoy the script as a story – because from now on it’s all work!!
Then, read the script again (and again, and again…) and start making notes and jotting down the answers to the following questions:
1) what is the PLOT? (what is the story about)
2) what is the THEME? (what is the message)
3) what is the LOGIC? (does the story make sense)
4) what is the EXPOSITION? (what are the characters doing/thinking)
5) what is the COMPLICATION? (what is the drama in the story)
6) what creates the TENSION? (what will happen next)
7) what is the MAIN QUESTION? (what problem is to be solved)
8) what is the MAIN ACTION? (what event hooks the audience)
9) what is the CAUSE OF THE ACTION? (what happens to the main character)
10) what is the RESULTING ACTION? (the answer to the main question)
11) what is the CONCLUSION? (how does the story end)
12) who is the PROTAGONIST? (the main character)
13) who is the ANTAGONIST? (could be one or more characters)
14) who is the MOST INTERESTING CHARACTER? (not always the main character)
15) where does the story TAKE PLACE? (location, time period)
D) Scene Analysis
Once you have an understanding of what the story is about, you then need to analyze each individual scene in the script.
1) what is the INTENT of the scene? (what is the scene used for dramatically)
2) what are the PLOT POINTS? (points that move the story forward)
3) what is the CLIMAX of each scene? (what is the turning point)
4) what is the RESOLUTION? (how is the theme resolved)
5) what is the CONCLUSION? (how does the scene end)
4) what are the important LINES OF DIALOGUE? (contain story points)
5) which character CONTROLS the scene? (who pushes the story forward)
6) what are the BEATS/UNIT CHANGES? (where does the story change directions)
E) Other Structural Elements
Here is a partial list of some other elements you need to look for during your script breakdown:
1) foreshadowing
2) recurring motifs
3) scene transitions
4) counterpoint
5) repetition
6) contrast
7) clarity of information
8) action and stunts
9) comedy scenes
10) special effects (explosions etc)
11) visual effects (CGI, green screen etc)
12) locations
F) In Conclusion

Your script breakdown will be a never-ending process. Each time you read the script, you find out something different about the story or the characters.

The script will constantly evolve. It will change because of the your creative notes – writer changes – actor changes – producer changes – network changes – location availability and on and on and on…

As long as you know what the story is about and where the story is going, you can adjust to all the changes.

03/05/2014

DIRECTING ACTORS: 5 TOP TIPS

1) Casting
Aside from casting actors who may increase the sales potential and audience of your masterpiece it is important that as a director you find collaborators that understand your approach and will be inspired by it rather than resist it.

To that end it is far more vital that you do some work with them during casting rather than rely upon cvs, showreels and audition pieces.

Do some directing! Even the smallest suggestion from you for them to respond to can greatly inform you as to how you might work together.

2) Rehearsal
Rehearsal is a crucial time in your preparation of character and story. It is not used just to practice how a scene might go, but rather as a time to develop stronger understanding of the characters, their relationships, and the ‘feel’ of the story in terms of style and energy eg. high comedy or tense thriller.

Make time for it in pre-production, and make it as high a priority as all your other meetings with producer, DoP, and other heads of department.

3) Communication
Actors best respond to verbs and active verbs at that. Giving the character a means to achieve a goal eg seduce, plead, be helpful, allows the actor the opportunity to really do something as opposed to an instruction such as be sexy, cry as you say your lines, or patronise which leads to little more than mimicry and a sense of falseness.
4) On The Shoot
Keep performances fresh by suggesting different actions to achieve the same goal, or increase/ decrease what is ‘at stake’ in the scene. The least helpful thing you can say to your actors, is ‘ do exactly the same thing again please’

Think in terms of what they are reacting to rather than enacting. All Action is Reaction. It can often be the case that you need to communicate that the situation for the character is a lot worse than it might seem from the writing.
5) Feedback
Directing actors is a lot like therapy, we have to be aware of the repercussions of our every word upon them, Yes they are sensitive, we all are, but they are asked to take off the armour we wear all day long through life and give us access to very powerful intimate areas of their psyche.

As a director, avoid critique, that is there for their teachers, coaches and ultimately the critics andaudience – who are mostly oblivious to the acting/directing process.

Any feedback should be positive, even when you are not getting what you need. Saying something like ‘ No,no no, be more angry, he about to rob you’ is not as helpful as something ‘ Great, this time let him see that you are NOT happy about being robbed, in fact if you feel angry go ahead let him have it!

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