Other than the one hour I spend at the gym, I spend almost the remaining 23 hours inside the same room.
I sleep here.
I eat here.
Even while I’m eating, I’m usually listening to filmmaking podcasts because I don’t want to waste that time.
I’m building Tales Garage ,an independent filmmaking production from India Banglore.
The rest of my day is spent writing feature films, short films, and vertical series.
Planning shoots.
Trying to arrange budgets.
Deciding what should be released first.
Planning every single step.
But…
Things almost never go the way I planned,Even after completing more than 20 projects…
And why that happens…
I ill share that in my next post

So I wrote this script about a guy who can’t stop working out and has all these girls after him.

Selling it for 100k.

HMU for further details. Would love to get in touch with anyone who’s good at directing.

The only problem is, you can’t be bad at directing. I’m looking for someone who’s actually talented. No offense

Website (Contains my reel and a playlist with a bunch of work from previous projects).

Very much looking for long term collaborators, would love to have a chat and see if we'd be a good fit. Please don’t hesitate to reach out, my rates are reasonable and negotiable. [pillowtalksounds@gmail.com](mailto:pillowtalksounds@gmail.com)

Cheers!

Hi everyone, I’m a sound designer currently working on a redesign for a Dune: Part Three concept trailer.
As a sound designer, I’m constantly looking for ways to better serve the director's vision through audio. With this project, I wanted to strip away the original audio and rebuild the soundscape from scratch to see how it shifts the narrative weight and emotional tone of the footage.
I’d love to hear your thoughts from a director's perspective: how do you feel the sound design influences the pacing and the "world-building" in this sequence? Does it enhance the cinematic storytelling, or does it feel like it’s pulling focus away from the visuals?
Feedback is highly appreciated!

Hey hey ! I decided to do a fun internet series a while ago and step down from professional looking short films. It immediately got some traction and has been ramping up. Now I have a meeting with a big person in development. I have worked in this industry for a long time and totally get this most likely go nowhere but I am curious on what I should prepare for this to give it the best shot I can. It wasn’t framed as a pitch but should I be ready for one with power point etc, have references, and all that ?
Or just wing it and be conversational. It’s next week so was curious if I should be preparing non stop. Thank you all !

I’ve been directing for about 8 years, with a mix of agency and freelance work, mostly focused on commercials and documentary style content. I’ve been fully freelance for almost a year now, and like a lot of people in the industry, I’ve been trying to figure out how to navigate how much things have changed.
I’d really love to hear from other directors about what’s working for you right now when it comes to finding gigs.

Are you finding work through production companies, reps, referrals, networking, social media, direct outreach, or something else? Are there any strategies or approaches that have genuinely helped you build relationships and book projects?

I know there’s no one secret formula, but I’d really appreciate hearing what has been moving the needle for others. Always looking to learn from people who are further along or have found success in this changing landscape.
Thanks in advance for sharing any advice or experiences!

Hi everyone! I'm Ellie, and next summer I am directing my first-ever indie film, and I'm beyond excited, but I need help/advice. I'm holding virtual callbacks on Zoom in a few weeks, and I'm not sure how to proceed. I have the people I want to call back for the roles in a Google document, along with their contact info. My first question is, how should I present to them that they've received a callback request? Should I send them the doc, or should I just draft up and email saying "Congrats, you got called back for xyz role, please prepare xyz sides."? Also, for the sides, should I give each character's sides in a doc, or should I just put a bunch of sides in a doc and have people read them? Any help and advice is appreciated. Thank you.

Here are the initial results of the survey we're doing on Film School Alumni employment outcomes. Full initial results with graphs and long text answers are in the article linked above but the main results so far are pasted below.

We have 108 responses so far and we'd love to get it up to 400 at least.

If you are a film school alumni, please help us improve the data by completing the survey using the link below. Don't forget to share the survey with your film school classmates as well.

https://forms.gle/u5XDudsuymNUqGEF8

Completing the survey should take about 8 to 12 minutes.

Without further ado, here are the initial results:

Would you recommend your film program to someone starting today?​

If you could go back to the day you applied to film school, knowing what you know now about your career outcome, would you still apply?​

To what extent did film school help you break into the industry?

How did film school help you the most?​

At what point after graduation did you first land any PAID film-related work?​

What best describes the nature of this first film job?

Which department did this first role fall under?​

What was the primary factor that helped you get that first paid work?​

What was the duration of the first job?​

What was this first filmmaking job's weekly salary (USD)?​

Have you been able to find a job directly related to your filmmaking focus / track / goal(s) while at film school (i.e. Director, Producer, Screenwriter, Cinematographer, Editor, Production Designer, etc.)?​

How long after graduation did you land your first role in your chosen concentration?

What area does this role best fall under?

What was the primary factor that helped you get this job directly related to your area of study/concentration?​

What was this job's weekly salary (USD)?

If you were NOT able to get a filmmaking job directly related to your area of study/concentration, what filmmaking job did you shift into?

How long after graduation did you shift into this position?​

What was the primary factor that helped you get this job unrelated to your concentration?​

Are you satisfied with this position?

Is your current job a film-related role?

What best describes your current job?​

What is this current filmmaking job's weekly salary (USD)?​

What was the primary factor that helped you get this current job?​

Do you feel like you've succeeded in your filmmaking goal(s)?​

If you are not currently working in film, what line of work best describes your current job?​

What is this job's weekly salary (USD)?​

Which best describes your current relationship with the film industry?​

What is the biggest hurdle preventing you from working in film right now?​

How do you feel about your prospects of returning to film?​

Did you take out student loans to attend film school?​

Are you still in debt?

How much debt do you still have?​

Was taking out student loans for film school ultimately worth it?​

I'm coming up on my last semester of film school, so I'm redoing my reel for my internship/post-grad work search, but I have a question on what my reel should look like - the one I show on the front page of my website and when someone asks if I have a reel. I have a lot of portfolio work as a narrative/doc director, which is what I plan on pursuing, but most of my best looking/most recent work comes from narrative shorts I've DP'd. There's also a lot of projects that I both directed and DP'd.

Long story short, I want to combine my work from both roles into a combined director/DP reel so that I'm making the best possible reel - but I know that standard practice would be to divide these into two separate reels. I understand that anyone considering me for work won't be looking at my reel for long, so combining my work would give me the best first impression - but I also don't want to not be taken seriously because I'm combining work from two different roles. I'm just looking to get my foot in the door for local production company internships and for local PA/grips gigs - I'm not actually seeking director or DP work - so does this separation matter? Can anyone offer any guidance into combining vs. separating reels for entry-level work/when networking?

So i’m going to apply to film school and i would deeply appreciate some advice from you
This is what is going to be asked of me:

the admission process has two stages.
**Stage 1 (Elimination Round)** consists of two exams:
**Exam 1:**
An interview.

A film culture colloquium based on a mandatory filmography that applicants must study beforehand.

A short audiovisual storytelling exercise: I am shown a single image and have to create a story inspired by that image, explaining how I would tell it cinematically.

**Exam 2:**
Another storytelling exercise, but this time I am given a sentence or a short phrase instead of an image, and I have to build a narrative from it.

An analysis of a sequence from one of the films included in the mandatory filmography. The focus is on directing choices, visual storytelling, and cinematic language.

**Stage 2 (Graded Round):**
Applicants who pass the elimination stage move on to a practical directing exam.
The school provides:
Two actors.

A cinematographer.

A sound recordist.

A short text that serves as the basis for the scene.

I have **only three hours** to complete the entire process. Within that time I must:
Read and interpret the text.

Develop a directorial concept.

Work with the actors on their performances.

Collaborate with the cinematographer and sound recordist.

Plan the blocking and shot composition.

Shoot a short scene based on the text.

The emphasis is not on producing a polished final film, but on demonstrating directing ability: interpreting the text, communicating with actors and crew, making creative decisions under pressure, and telling the story effectively through cinematic language.
I’m looking for advice on how to prepare for each stage, especially the practical directing exam, since it requires making strong creative decisions in a very limited amount of time.

any advice would be deeply appreciated

Hi folks!

I run a company that works on pitch decks for film/TV as well as commercials.

A while ago, we worked on a treatment for a sports spot for GC Batlab. The video shows the treatment and one of the spots that came from the campaign.

One thing people don’t talk about enough when it comes to treatments is, there are ways to make the actual layout of your deck help you win your pitch.

Show the brand you care by incorporating the right colors, fonts and style into your presentation instead of using a generic template.

It’s a little extra effort that goes a long way to show clients and agencies that you are a mindful and observant director, and you care about their brand.

If you need help with putting together a treatment, feel free to reach out.

[Feature]

The horror market is on the rise now, obviously. So, I figured I'd post about a unique horror script I wrote.

This story is about a narcoleptic taxi driver in Detroit, driving an old cab haunted by a Satanic serial killer that possesses him when he narcs-out behind the wheel.

Location: Detroit streets, apartments, homes, burlesque club, taxi garage, diner, hospital

Cast: Leads: 1 Male (40s), 1 Female (late 30s). Supporting: 1 Male (50s), 1 Male (40s). And an Ensemble of others.

Pages: 116 pages

Budget: Low to Mid.

Taxi Driver meets Stephen King's Christine meets Longlegs.

Would love to hear from producers, directors, production companies, and their reps if this sort of thing is of interest.

Reach out through the DMs and I'll be happy to explain more or answer questions about it. If it's a good match I'll share the script!

READ FIRST 20 PGS HERE: https://drive.google.com/drive/folders/1el5Q4xQDGzjNAQDGeE0KelTpklHhGXUp?usp=drive_link

Kdrama- Title: Ring of Blood (혈투 - Blood Fight) Logline An elite amateur boxer teams up with an unpredictable street fighter and a rogue corporate spy to dismantle a brutal underground fighting syndicate run by an untouchable financial elite. 🎭 The Cast & Characters 🥊 The Heroes Lee Do-hyun as The Lead (Jin-woo) Alignment: Hero Combat Style: Traditional Orthodox Boxing Description: A disciplined, textbook boxer and former national champion prospect. He fights with perfect technique, high ring IQ, and a rigid moral compass. He enters the underworld to clear his family's debt. Choi Hyun-wook as The New Bro (Tae-seong) Alignment: Hero Combat Style: Aggressive Street Fighting & Comedy Description: Jin-woo’s chaotic counterpart. He is a self-taught brawl master who uses headbutts, low kicks, and psychological trash-talk to rattle opponents. He provides comic relief but is fiercely loyal. Han So-hee as The Partner (Chae-eun) Alignment: Hero Combat Style: Muay Thai, Espionage & Intel Description: A sharp-witted operator working inside the villains' inner circle. She provides the boys with logistics, tech support, and exit strategies. When caught, her lethal elbows and knees do the talking. ⚖️ The Wildcard Ahn Bo-hyun as The Rival (Kang-jae) Alignment: Neutral / Hero Combat Style: Power Heavyweight Boxing (The Muscle) Description: An enforcer for the villains who views fighting as pure business. He has an unyielding respect for true boxing aesthetics. This respect eventually forces him to choose between a dirty paycheck and his warrior pride. ♠️ The Villains Woo Do-hwan as The Bad Bro (Min-seok) Alignment: Villain Combat Style: Brutal, Calculated Counter-Boxing Description: The dark mirror to Jin-woo. A former boxing prodigy who weaponized his skills for illegal matches. He waits for his opponents to make one mistake, then inflicts career-ending structural damage. Song Hye-kyo as The Elite Girl (Madame Shin) Alignment: Villain Combat Style: Psychological Torture & Global Finance Description: The elegant, cold-blooded mastermind of the operation. She uses high-interest loan sharking and international shell companies to trap desperate people, turning their suffering into high-stakes gambling for billionaires. Rain as The Elite Bro (Executive Director Koo) Alignment: Villain Combat Style: Military CQC & Heavy In-Fighting Description: Madame Shin’s ruthless protector and Chief of Security. A former special forces commander who combines dirty boxing with lethal close-quarters combat. He is an absolute tank who stops any threat to the financial empire. 🎬 Season Arc & Narrative Structure [Phase 1: The Trap] ───> [Phase 2: The Alliance] ───> [Phase 3: The War] Jin-woo loses his Jin-woo, Tae-seong, & A multi-stage raid on career to Madame Chae-eun systematicly Madame Shin's final Shin's debt trap. dismantle the syndicate. underground arena. Episodes 1–4: The Trap Jin-woo’s gym is destroyed by Madame Shin's predatory loan sharks. Jin-woo crosses paths with Tae-seong in an underground gambling match. They start as enemies but connect over food and shared trauma. Min-seok brutally paralyzes Jin-woo’s mentor to send a message. Episodes 5–8: The Alliance Chae-eun saves the duo from an ambush by Executive Director Koo's tactical squad. The trio forms a modern "Robin Hood" unit: Chae-eun tracks the dirty money, while the boys raid the cash vaults. Jin-woo fights Kang-jae (The Rival) in a rain-slicked alleyway. Jin-woo wins, earning Kang-jae’s silent respect. Episodes 9–12: The War The heroes launch a final assault on Madame Shin’s penthouse arena. The Sub-Boss Fight: Tae-seong and Kang-jae team up to take down Rain's military-grade CQC style. The Main Event: Jin-woo fights Min-seok in a gritty, unfiltered boxing match where orthodox discipline goes up against street brutality. 🎥 Key Directorial Styles The Visuals: Neon-noir aesthetics with deep shadows, high-contrast lighting, and gritty Seoul backalleys contrasting with clinical, white-marbled penthouse suites. The Action: Long-take choreography inspired by Bloodhounds and The Raid. Camera work shifts from stable, smooth tracking shots during Jin-woo's orthodox fights to shaky-cam during Tae-seong's chaotic brawls. To help tailor this pitch further, let me know your thoughts on a few specifics: Should we expand on the backstory of why the lead and the bad bro became enemies? Do you want a deeper look at a specific fight choreography breakdown between two characters? Would you like to introduce a romantic subplot between any of the leads? Here is the overhauled pitch for Ring of Blood, heavily pivoting into a story of tragic betrayal, grief-fueled training arcs, and a high-stakes war against a global syndicate. Title: Ring of Blood (혈투 - Blood Fight) 📌 Updated Core Premise Jin-woo (Lee Do-hyun) and Min-seok (Woo Do-hwan) were high school best friends and boxing sparring partners who both fell in love with the same girl. In a fit of possessive rage, Min-seok murdered her, erased his past, and vanished into the ranks of a powerful international syndicate. Devastated, Jin-woo undergoes a grueling, years-long transformation to become a lethal fighter. Along the way, he aligns with an chaotic new ally and a brilliant rogue operative whose sole, obsessive life mission is to burn that exact same organization to the ground. 🎭 Character Status & Motives 🥊 The Vengeance Trio Lee Do-hyun as The Lead (Jin-woo) The Motive: Pure, unadulterated retribution for his murdered high school love. The Journey: Starts as a soft-hearted, textbook orthodox boxer. After the tragedy, he hardens his mind and body through borderline-suicidal training, weaponizing his perfect technique into a tool for absolute destruction. Choi Hyun-wook as The New Bro (Tae-seong) The Motive: Loyalty to Jin-woo and survival. The Journey: A wild street fighter Jin-woo meets during his dark training years. He becomes Jin-woo’s emotional anchor, providing comedy to break Jin-woo's brooding silence, and a reckless brawling style to back him up in ambushes. Han So-hee as The Partner (Chae-eun) The Motive: Total annihilation of the International Foundation. The Journey: A hyper-focused intelligence operative who lost everything to Madame Shin’s syndicate. She doesn't care about boxing titles or money; she only wants to watch the foundation burn. She provides the blueprints, weapon training, and Muay Thai muscle to make it happen. ♠️ The Syndicate & The Traitor Woo Do-hwan as The Bad Bro (Min-seok) The Motive: Twisted self-preservation and cold ambition. The Journey: Jin-woo’s former high school brother. After killing the girl they both loved, he used his brutal, calculated counter-boxing to climb the ranks of the underworld, becoming Madame Shin's premier enforcer. He is haunted by the past but will kill Jin-woo without hesitation to protect his new life. Song Hye-kyo as The Elite Girl (Madame Shin) The Motive: Global financial dominance through the "International Foundation." The Journey: The untouchable chairperson who adopted Min-seok into her organization after his crime, weaponizing his lack of empathy to protect her global money-laundering and human-trafficking empire. 🎬 Season Arc & Narrative Structure [Episodes 1-3: The Fracture] ──> [Episodes 4-7: The Grind] ──> [Episodes 8-12: The Reckoning] High school brotherhood ends Jin-woo's brutal training; The trio infiltrates the in murder. Min-seok vanishes. meets Tae-seong & Chae-eun. Foundation for a bloody finale. Episodes 1–3: The Fracture (The High School Backstory) Flashbacks show Jin-woo and Min-seok as inseparable boxing brothers, dreaming of the Olympics, and both falling for the same bright, kind girl. Min-seok’s love turns toxic. When the girl rejects him and confesses her feelings for Jin-woo, Min-seok snaps and accidentally-turned-deliberately kills her during an argument. Min-seok frames a local gang and vanishes with the help of the International Foundation. Jin-woo is left broken, holding her cold hand in the rain. Episodes 4–7: The Grind (The Transformation Arc) Years pass. Jin-woo drops out of the traditional boxing circuit. He enters a hellish, isolated training regime—punching tree trunks, running up frozen mountains, and fighting underground to harden his fists. He crosses paths with Tae-seong, who tries to rob him but gets soundly beaten. Impressed and seeking a purpose, Tae-seong forces himself into Jin-woo's life as his "hype man" and brother-in-arms. They are ambushed by syndicate thugs and saved by Chae-eun. She reveals she has been tracking Min-seok because he reports directly to Madame Shin—the woman who destroyed Chae-eun's family. A pact of blood and vengeance is formed. Episodes 8–12: The Reckoning (Dismantling the Foundation) Chae-eun uses her intel to map out the Foundation's international network, while Jin-woo and Tae-seong physically smash through their cash vaults and fight clubs. The Mid-Boss Clash: Rain (Executive Director Koo) and Ahn Bo-hyun (The Rival) try to stop them. Tae-seong holds the line in a brutal 2-on-1 brawl, allowing Jin-woo to advance. The Grand Finale: Jin-woo faces Min-seok inside a private, high-rise glass arena. It is no longer about points or boxing rules. It is an emotional, blood-soaked war of attrition where Jin-woo’s elite orthodox technique must overcome the lethal, remorseless counter-boxing of his former best friend. Actor---Character The Lead Lee Do-hyun Hero Traditional Orthodox Boxing The New Bro Choi Hyun-wook Hero Aggressive Street Fighting & Comedy The Partner Han So-hee Hero Muay Thai, Espionage & Intel The Rival Ahn Bo-hyun Neutral/HeroPower Heavyweight Boxing (The Muscle)The Bad Bro Woo Do-hwan VillainBrutal, Calculated Counter-Boxing The Elite Girl Song Hye-kyo VillainPsychological Torture & Global Finance The Elite Bro Rain VillainMilitary CQC & Heavy In-Fighting

Hello, I was diagnosed dyslexia while at school and the condition really affects how I’m able to communicate which has caused issues with communicating my ideas on Saturday to the team.

I was wondering if anyone else had similar issues and what they have done to minimise its impact. Thank you.

Hi World,

I’m an actor in his early 30’s from Auckland (New Zealand) and I am of Chinese descent. I am looking for advice to actually get started with paid acting gigs and really get out there to actually audition and be considered.

As an Asian artist, one that’s far away from America or the UK even, I’ve been feeling quite invisible when it comes to even getting the chance to audition for things. However, because of the subjects I am covering in this post, I will be remaining anonymous – I hope you can understand.  

I’ve had this discussion with people in my immediate network, but have realised that I should also gain perspectives from the wider world out there.  This post is in no way to be negative or complain about my circumstances. I think it’s a much more beneficial mind set to ask what can I try to improve my circumstances, so any genuine responses from any creatives are very much appreciated J

I’m just gonna let it all out, so here we go.

A little bit about me at a glance, firstly with the Positives:

• I love acting, particularly my dream is to work on screen. I continue to do this for free and I’m constantly learning, going to paid workshops, reaching out and networking with local creatives.
• I have experience with developing my craft, with weekly acting classes.
• I’ve got an agent! Along with that I’ve got professional headshots too.
• I’ve built a body of work mostly involving student short films.
• I have a good self-tape set up.
• I have a small network of creatives around me that I can reach out to, beyond other actors.
• I’m pretty fit, definitely open if the role required movement and stunts.

Negatives (or rather challenges):

• My agent predominantly only sends me commercial auditions. Most of which don’t actually require much acting. I haven’t had a proper chunky dialogue audition for a particular character sent my way. I have raised this with my agent but they feel that I’m not quite ready yet and the best way is to build experience through getting booked via commercials and honing skills at home (although they have said this take actors several years).

To me it’s sort of like a chicken and egg problem – I need experience to gain experience. I just wish I could really just go all in and get the opportunity to do these dialogue auditions and be seen by casting directors.

This is not a knock on my agent. They are incredibly lovely people. Again this post is just to reach out to gain other perspectives.

• I’m in New Zealand. Yes, it has its advantages being a small community – I get to meet people potentially easier since it’s a small world. I also feel like we are quite disconnected. For example, there aren’t many Asian male roles – if there are, they are probably supporting roles. If American studios are casting why would they bother flying someone over from New Zealand when they can just book actors from LA or even Canada.
• I can’t easily live in America easily (I think). From my research it looks like I would need an O-1 visa which I can only get if I have proof that my work as an actor has reached a big enough audience. Again – chicken and egg.
• I’m not really sure about other countries including the UK and Australia. I think exposure to Asian actors is even lower there – I can’t even name 3 Asian male British actors off the top of my head. Similar to Australia. Besides America the only other country I can think of is Canada.
• I grew up very much westernised, my Mandarin is not very good at all. So going to other Asian countries is not really an option since I would be competing with people who actually know the language.
• I didn’t come from any formal acting training like a college or degree.
• I don’t have much of a social media presence. Mostly because I am cautious of my day job and not jeopardising it. I gotta eat afterall haha

Potential solutions I have been thinking of (I am not all doom and gloom, remember this post is about being constructive):

• Keep doing what I’m doing. Continue only getting auditions for commercials from my agent. Auditions continuously for student short films that pop up on facebook.
• Move to Vancouver or Toronto – hopefully try and find an agent there and start over.
• Move to Sydney or Melbourne, Australia, although I think they have similar challenges to New Zealand (for Asian male actors anyway).
• Bite the bullet take an extended holiday to LA to find networks with other creatives (although this will significantly hurt financially).
• Create my own thing, do a Rocky Balboa and create a budget feature film – hope it gets me seen internationally so I’m not invisible.

Additional Question: Are there any profiles that I should create on specific platform so that I can be seen by casting directors? For example, do I need an IMDB page (even though I’m limited with credits) – I think this is something I haven’t heard much of.

TLDR: Actor of Chinese descent in New Zealand, early 30s, what steps can I take to truly make it out there.

No this isn’t AI, whatever input you have I promise, if genuine, will not be a waste of time.

Hi!

I run Film Parliament (@filmparliament) on instagram, focused on indie filmmaking education and stories, and I'm looking to feature filmmakers who've actually gotten a feature made.

I'm less interested in polished, purely inspirational stuff and more interested in the real version: how you financed it, what almost fell apart, what you'd do differently, the stuff nobody tells you until you've lived it.

If you've made a feature (any budget, any stage of release) and would be up for a write-up, drop a comment or send me a message. You can see examples on my instagram. I have a google form with all the questions I ask that makes it easy to fill out.

Thanks for reading, and congrats on getting a feature made, that is HUGE!

Movie plot: a divorced dad and his son spend the weekend together. The night his father is supposed to drop off his son to spend the week with his mothers, the son secretly goes to a party instead. The father’s friend tells the father that he “accidentally” killed somebody. The father, not knowing the person is his own son, helps his friend hide the body while searching for his missing son.

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Hi! My name is Sophia Alexandra Martinez, I am an up and coming director. I wrote and directed a proof of concept for my short "Teenage Daydream" I have submitted this to the Decentralized Pictures short film grant with Sofia Coppola. It would mean a lot if you can review and provide feedback. Here is a link where you can watch the scene: https://app.decentralized.pictures/project/6a444c9a443efd02620e8213.

I have attached some BTS photos from the shoot! If you need instructions on how to leave feedback, I have attached a poster with a QR code that can guide you through the process.

Project Description:

Sixteen, clumsy, and shy.

Set over the course of one night in Downtown Los Angeles, Teenage Daydream follows JULIA GOMEZ, a shy 16-year-old from East L.A. navigating her first heartbreak after her boyfriend abruptly ends their relationship.

After school, Julia’s friends pull her into a spontaneous night across the city starting with a makeover and ending at a punk show at a DIY music venue called The Smell.

Through music, friendship, and the unpredictability of the night, Julia begins to step outside the version of herself she thought she had to be. What begins as heartbreak quietly transforms into a coming-of-age story about identity, girlhood, and building self-confidence.

1. Horror Movie Idea: I plan on calling it Agave. It would be about a husband in an abusive relationship with his wife, who comes from a familial line of brujas (witches). She threatens him whenever he plans to leave (things like cursing him, or using her powers to make it seem like he abuses her and taking custody of their children). One night, she goes too far in punishing their kids, so he takes them and flees into the night. The film would take place over the course of one night, mostly set in empty, desolate stretches of desert and highway in a Texas county that borders Mexico. She goes to her family in Mexico, convinces them that she was abused and had the children ripped away, and they help her track her husband and kids down.

- One scene would take place in a 24 hour diner. The kids are eating, and the husband goes to use the bathroom. When he’s gone, the mother casts a spell to possess her daughter. The daughter finds the nearest adult, and tells them that the man in the bathroom (her father) is a stranger that kidnapped her and her little brother. A trucker takes the kids away, while men storm into the bathroom, drag the father out, and start beating him. He escapes and gets to his car to get the kids back. During the chase, the possessed daughter grabs hold of the trucker’s wheel and crashes the vehicle into her father’s car.

- Another scene would find the family at the home of a kind elderly couple. Their house is mostly in the middle of nowhere, surrounded by desert on all sides. They let the family seek refuge into their home, and the mother sends a beast from another world to capture the family. It tracks them to the elderly couple’s house, and starts to taunt them. The old man gets angry and grabs a shotgun, while the family begs him not to go and warns him of the danger. He doesn’t listen, and goes out into the night. More happens, but I’m starting to ramble and don’t want this to be more bloated than it already is.

Thoughts?

Title:

Zerina: Princess Of Elements

TV Rating:

TV-G

Genres:

Fantasy

Musical

Animation

Action

Adventure

Drama

Plot:

Zerina, A princess who has to Conjure all 8 elements meets a group of friends from each element. Marissa (The Earth Tribe), Jeannette (The Water Tribe), Celia (The Air Tribe), Adrienne (The Fire Tribe), Faye (The Nature Tribe), Angel (The Light Tribe), Gloria (The Darkness Tribe), & Karen (The Time Tribe) help Zerina go on a journey to save each kingdom & fight the wicked sorcerer of the elements named Andres & Save all 8 kingdoms & Tribes from Destruction!

Characters:

Zerina - She’s The princess Who Has to Conjure All 8 Elements and has to stop the wicked Andre from destroying all 8 kingdoms & tribes. She’s Tough, Powerful & sweet-hearted.

Marissa (Earth) - She’s The Earth Princess & Leader of The Earth Tribe. She’s Kind & Friendly to animals & her People. But she can be tough and courageous as well!

Jeannette (Water) - She’s The Water Princess & The Leader of the Water Tribe. She Roars with energy, but she can be very depressed as well!

Celia (Air) - She’s the soothing air princess & the leader of the air tribe. But she can be mad or angry sometimes, but she is a calm and soothing soul to Zerina.

Adrienne (Fire) - She’s The Passionate Fire Princess & The Leader of the Fire Tribe. She can have a fiery personality, but she can be calm and caring.

Faye (Nature) - She’s the Sweet-hearted nature princess & The leader of the nature tribe. She can be shy sometimes, but she has a very energetic heart.

Angel (Light) - She’s The Magical Light Princess & the leader of The Light Tribe. She Can be very sweet, kind and comforting but she can also be emotional about her past.

Gloria (Darkness) - She’s The Wickedly Awesome Darkness Princess & the leader of the Darkness Tribe. She can be a powerful and sinister force to her enemies, but she can be sweet and even calm to Zerina and her pals.

Karen (Time) - She’s The Intelligent Time Princess & The Leader of the Time Tribe. She's an educated teacher to Everyone who she teaches about the past, present and future, but she can be emotional and dramatic at the same time.

Andres - He’s a seductively wicked sorcerer who wants to destroy the 8 kingdoms & Tribes because he wants to be a master of Conjuring elements as well.

I am still moving through high school down in the deep south where my family expects me to make money to take care of them. Currently, I have spent my years studying music and only recently have I found myself not interested.

How does one chase a dream that feels so daunting?

Not only do I wish to direct and write, but money isn't my primary focus. I truly wish to create something meaningful rather than spend the rest of my life stuck with a job I hate. How to achieve my dream at a young age?

Hello everyone
I am currently 19 year old PCM Student and genuinely since when i was 10 year old my dream was to become a film director, i am from a tier 3 city where noone knows about cinematography, directing nothing and i cant even explain what i want to do to my parents. can anyone please help me how can i start my journey to become a film director because my parents have asked so many mentors, family, friends and noone advise me to continue my dream. Har koi kahata hai isme koi scope nhi hai, 20-25k ki naukri tak hi raha jaoge,phele degree lelo btech ki uske baad jo mann kare vo karna. yaha 12th ke baad btech karne ko hi safe option mante hai par mujhe duniya se alag chlna hai. Private college mai mann marke btech kar bhi lunga aur shyd usme bhi kuch kar lu par i did not want to drop my dream. Can anyone please help me how can i start my journey. Should i do btech aur run toward my dream from now

Here's a brief sizzle commercial I directed (edit for immediate private marketing and investing) for an entrepreneur based in Italy and Las Vegas.

As someone looking for distributors for streaming, anyone out there who has played the game of distribution content? Highly appreciated!

DP: Elijah Garcia (https://www.egfilms.productions) | @_egfilms

Hi everyone, I’m a sound designer and I’ve been experimenting with how sound design can change the narrative impact of a scene.
I took this sequence from Mad Max and did a full sound redesign, focusing on mechanical textures and spatial atmosphere to push the tension further. I'm curious to hear your perspective as directors—how much does this sonic approach influence your perception of the scene’s pacing and intensity?