Racoon’s Post

https://lnkd.in/eb_Tscfh A little BTS of what went down on set of my upcoming debut feature /demo_n. Nearing locked picture and moving onto score by the end of this week!

New Post: What excites ‘Dune: Part Two’ co-writer Jon Spaihts most about ‘Dune Messiah’? - https://lnkd.in/gTDgg88J - Dune: Part Two's explosive ending has already set the stage for the next step in Paul Atreides (Timothée Chalamet) and Chani's (Zendaya) story. That can only mean one thing: Dune Messiah. SEE ALSO: 'Dune: Part Two' review: Denis Villeneuve's sci-fi masterpiece soars, then screams to a halt While Warner Bros. has yet to green-light a film based on Frank Herbert's second Dune novel, Dune: Part Two's strong box office showing and reception from critics and general audiences alike could lead to a path for a Dune Messiah adaptation. The cogs are already in motion: Director Denis Villeneuve told The Hollywood Reporter that he is currently in the writing process. In an interview with Mashable, Dune: Part Two co-writer Jon Spaihts confirmed that Villeneuve was working on the screenplay and that the two have had discussions about the film. Although Spaihts himself has yet to work on a Messiah script in any official capacity, he's more than ready to jump in."The exciting thing about Messiah is a truly inevitable and tremendous time jump," Spaihts told Mashable. The book picks up years after Paul takes over the Imperium. By this point, the jihad in his name has claimed billions of lives. And as Spaihts puts it, "Heavy is the head that wears the crown."Messiah's time jump offers us the chance to see a version of Paul who's grown further into his prescience, as well as more time with characters we didn't see much of in Dune: Part Two, such as a now-grown Alia Atreides (Anya Taylor-Joy) and Princess Irulan (Florence Pugh). It also continues to emphasize Herbert's cautionary tales about leader figures. SEE ALSO: Feyd-Rautha Harkonnen is the most fun part of any 'Dune' movie he's in "The function of Dune Messiah in the Dune canon is in some ways a repudiation of Dune," Spaihts explained. Yes, Herbert's misgivings about messianic figures are present in Dune, but the ending — including Paul's total rout of the Imperium — may leave room for heroic interpretations of Paul."I think Frank Herbert came away from troubled a little bit that perhaps he had put too much of a real crown on his savior he was trying to warn people about," Spaihts continued. "So, Dune Messiah really is his reply to himself and his reply to Dune. It's like the second act of Into the Woods where everything falls apart, and the shadows of everything reveal themselves."With its bleak themes and cliffhanger ending, it's clear Dune: Part Two is gearing up for Dune Messiah — perhaps even more emphatically than the end of Herbert's original Dune. "The lovely thing is that the way Denis has shaped the end of Dune: Part Two has set the table even better than the novel does for the coming machinations of Dune Messiah, where we'll see Cha

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Check out the latest NYWIFT Members in the News!

“What do you do for work?” “I’m a YouTuber” “So how many subscribers do you have?” For certain stretches in my career, I branded myself as a YouTuber. But as a result of this follow up question, I no longer do. It’s not very cool to answer back “300” when the only content anyone ever watches has commas in it. I fell victim to the subscriber count defining my success both to myself and others. Today, I brand myself as a creative. YouTube is just my platform of choice. And those 300 subscribers? Have you ever seen a room full of 300 people? Yesterday I attended my second ever Rough Cuts, a Philadelphia community of filmmakers that get together once a month to screen and critique films. 50 people were probably there at the screening. And the energy in the room was palpable. Showers of applause filled the room after each showing. Hands shot up to give insightful feedback. Those 300 people that I share my films with are real people too, even if I can’t see their faces. The subscriber count offers creatives an objective rating- but creativity is entirely unobjective. Looking up a film’s Rotten Tomatoes score will undoubtedly change your perspective before you even click play. If you’re not a fan already, a low subscriber count may heighten your hesitation of a creative’s talents. Numbers don’t define you. Your work does. And those that do choose to align themselves with your work? Those people chose YOU. Put out better work each time, and people will have no choice but to keep choosing. One of the best parts about Rough Cuts is seeing films from an insanely wide variety of creatives and genres. All without a view or subscriber count visible: An algorithm-less experience. Food for thought. Just as films were curated for me today, I leave you with a bit of my own curation. This is Eclipse, a film I made following the solar event earlier this week. Here’s to getting better each time. Regardless of the number beside it. https://lnkd.in/eK-jdyjj

I did something I would never advise... and it kind of worked out. Over the first half of this year my friend and I wrote a feature screenplay together. We had planned to have it finished at the beginning of the year, but as things go we didn't finish until April or May, just in time for the Austin Film Festival screenplay deadline. We wrote 'the end' on the first draft maybe a day or two before the final deadline -- and then submitted it! First, it's a really bad idea to submit a first draft of a screenplay to a friend, let alone a major festival. A script needs rewrites. But we didn't do that. We submitted anyway. It is a beyond arrogant move. And then we got our notification: 2nd Rounder... or top 20% of screenplays submitted to the comedy category. Kind of nuts! Okay, but now here are the facts behind the approach. 1) We had written a 30-ish page outline and rewrote that outline at least six times. So yes, it was the first draft in screenplay format, but we had spent a lot of time developing the characters, the scenes, and sniffing out plot holes. By the time we got to writing it was more like transcribing (but the screenplay still needs work. After all it was only a second rounder lol. 2) I didn't submit with the thought or expectation we'd win anything. I thought our story, tone, and voice were strong enough for 2nd Rounder consideration (though would not have been surprised if we didn't make it at all), but anything beyond that didn't seem probably. So why submit? Because I wanted to gauge where we were in our craft. I submitted because I wanted the feedback and to see how we stacked up with a raw product. And based on the results it feels like we stacked up pretty well. The next stage will be to address the notes, put in more re-writes, and submit to additional competitions, managers/agents, etc. We started with a high floor. Now can we reach our ceiling?

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I just wrote a new article on Ko-fi discussing the nitty gritty of changes and upgrades coming to my YouTube Channel. Take a minute to read it and tell me what you think! https://lnkd.in/eRkaJ5da

Crafting Tension: How to Build Suspense and Keep Audiences on Edge Creating suspense in film is like manipulating the audience’s heartbeat, making them feel that something significant is about to happen, but keeping them in the dark about when or how. Key techniques include pacing, music, and framing. Pacing plays a crucial role; slowing down a scene, like a character reaching for a door handle, builds tension by delaying the action. Conversely, suddenly speeding things up can catch viewers off guard, maintaining their anxiety. Music enhances this suspense, as eerie soundtracks can foreshadow danger, while silence can create an unsettling atmosphere. Framing, through camera angles and lighting, adds to the mystery. Dim lighting and shadows create an intense environment, while close-up shots show characters’ fear, making the audience connect with their emotions. Camera movement, especially shaky shots, immerses viewers in the action, heightening their sense of vulnerability. Together, these elements make simple scenes thrilling, guiding the audience’s emotions while keeping them uncertain, ultimately turning good films into unforgettable experiences.