Frederick J. Chen’s Post

-Loglines- When starting to do script coverage fresh out of film school, I used to think that writing a second logline for a script was a waste of time, especially when a script would come with a pitch deck. I mean, there’s already one included! But in the interest of staying professional (and keeping my job lol) I brushed that thought aside and just kept at it, until it slowly dawned on me that what I take from a script doesn’t mean that’s what the screenwriter intends. Just like a painting or a good book, part of the art is what's being presented, but another part is what we take from it, and the same thing works for film. When I get a pitch deck with a script, I try to read and write my logline first before any other influence on the story. Does my logline match the pitch deck? If not, is that a bad thing? There’s no hard yes or no answer, and that’s part of the point of getting coverage. A secondary logline from a Screenwriter’s perspective lets them what people take from their story. Is Sons of Anarchy really only about a motorcycle club? From a Producer perspective, looking at your logline compared the coverage allows them see what you are intending and what an audience might take from your story. That’s going to influence production details, casting, marketing, and more. And btw, my absolute favourites are from those “Poorly written logline” subreddits. Some are absolute gold! What are your thoughts on what we take from stories vs what’s actually printed? Have you ever taken more from a story than what was just written?

4 Mistakes I Made As A Film Producer and What I Learned 🎬 When I decided to expand my film career from just screenwriting to include film production, I thought it would be all smiles and roses. But, what I didn't realise is that the work of a Producer starts before the film is shot and doesn't end even after everyone has gone home. Reflecting on my experiences, here are four mistakes I made as a film producer: • Underestimating Pre-Production: The things you neglect in the pre-production stage will come haunting you during production. I once rushed through pre-production, thinking we could fix issues on set. This led to costly delays. Prioritizing meticulous planning and thorough preparation to ensure a smoother production process is key. • Ignoring Budget Constraints: As a young producer, I was often so eager to jump on a new production that I overlooked creating a budget that would work to the 'T.' I believed the job of a Producer was to make the budget work no matter what it is, but I came to realise that the budget working depends on a lot of factors that you must consider before drafting the budget. Most times, I ran out of finances on set and had to source emergency funds. I've learnt to always have 20% contingency funds and create two budget sheets; one that has the actual price and one that has a slightly inflated price incase prices of things go higher than I had anticipated. • Neglecting Team Communication: I call this 'Building an Army.' Every project is as good as the team you work with. Miscommunication can lead to misunderstandings and so, it is very important to work with a team that understands not just you, but the vision of the project. Building an army is surrounding yourself with a team that will ride till the end for you. • Overlooking Post-Production Planning: I once had a project that stayed in post-production for over one year and this was because of the countless issues encountered on set and having to move the film from one studio to another. There is nothing like 'We will fix it in Post.' Everything that needs to be fixed should be fixed in pre-production and production, else, post-production will be a disaster waiting to happen.

Importance of Giving Scriptwriters Realistic Deadlines for Commissioned Projects In the world of filmmaking, the script is the blueprint that guides the entire production. It's the foundation upon which characters come to life and stories unfold, but crafting a compelling script takes time, creativity, and a lot of hard work. That's why giving scriptwriters realistic deadlines for commissioned projects is crucial. Unrealistic deadlines can stifle creativity, leading to rushed and subpar scripts that fail to capture the essence of the story. When scriptwriters are given ample time, they can dive deep into research, develop complex characters, and weave intricate plots. This process is essential for creating a script that is not only engaging but also believable and well-rounded. Realistic deadlines allow writers to explore different ideas, make necessary revisions, and polish their work to perfection. Unfortunately, the lack of realistic deadlines has significantly affected the quality of many African movies. Often, scriptwriters are pressured to deliver scripts quickly, leading to stories that feel incomplete and characters that lack depth. This rush compromises the overall quality of the film, making it less enjoyable and impactful for viewers. By setting achievable deadlines, African filmmakers can ensure that their stories are well-crafted and compelling, ultimately elevating the standard of their films and enriching the viewing experience for their audience. Realistic deadlines show respect for the script writer's craft and well-being. Writing is a creative process that cannot be rushed without compromising quality. By setting achievable deadlines, producers and directors foster a positive working environment where writers feel valued and motivated. This not only enhances the quality of the script but also builds a strong, collaborative relationship between the writer and the rest of the production team. In the end, everyone benefits from a well-crafted script that forms the backbone of a successful film. #filmmaker #scriptwriter #movie #filmcriticqueen #afrofilmsgobe #highlights #time

Timelines Matter! 🗓️🎞️ In documentary editing, a good rule of thumb is to allow **one month of editing for every 10 minutes of final film.** For a 90-minute movie, that’s a 9-month editing timeline! How do you create effective timelines for your projects? Share your methods! ⏳ #Timelines #Editing #ProjectManagement #Documentary

A lot of people don't know that I am a trained screen author. In fact it was one of my first skills I obtained after I experienced film sets. It is not my passion and I only write for myself. However, it became a necessity over time to steer my film career in a different direction. I have written a funded short content series, two short films and now I am self-authoring my feature film. While I am not big on writing, I am very honest and I do a lot of soul searching. I have found a process to create consistent output and I understand story in such a sense that it translate to the needs of a production. Combined with my practical hands-on experience, education in film history, my nerdism in the field of cinema, my directing, as well as my production skills, I feel equipped for the future. Since I know what sudden turns life can take, I simply keep enjoying the process – even to some extent writing. Why? Because for me it is currently all about originality and not about formulated scenarios and crowed pleasing story arcs. I feel this will only decline our art and industry. I love to be on this independent cinema branch and I hope I will gain support and enough fellowship to do so in years to come. I am not against industry standards and I have deep respect for the people who take on the unique challenges in this demanding line of work. However, I like the freedom of doing my indie-film art without surrendering to any norm. Some believe in formats and genres, I believe in the director as a brand and as an artist.

Screenwriters, Beware: The Perils of Deferred Payment In the treacherous realm of the film industry, screenwriters often find themselves tempted by the allure of working on a deferred payment basis. This arrangement, which involves delaying payment until after a film is produced and distributed, holds the false promise of potentially lucrative rewards. However, it is a trap that screenwriters, particularly first-timers, must diligently avoid. Unscrupulous filmmakers have become adept at exploiting aspiring screenwriters. They flatter their potential collaborators by expressing admiration for their work and promising vast riches once the movie is released. However, the reality is often far less glamorous. Many of these filmmakers have no genuine intention of paying screenwriters. They simply use them as a cheap and expendable source of content, knowing full well that they are preying on their inexperience and desperation. The consequences of accepting deferred payment can be devastating. Screenwriters may spend countless hours crafting a screenplay, only to be left with nothing once the project falls through or the filmmaker simply disappears. They may also find themselves trapped in a cycle of exploitation, forced to work on multiple projects without fair compensation. To protect themselves, screenwriters should always insist on upfront payment. This ensures that they will be fairly compensated for their work, regardless of the outcome of the film. It also sends a clear message that they value their own time and talent. First-time screenwriters are especially vulnerable to the pitfalls of deferred payment. They may be flattered to find someone who seems interested in working with them and may not realize the potential risks involved. However, it is crucial to remember that the film industry is a business, and screenwriters should treat their work as a valuable commodity. By avoiding deferred payment and insisting on upfront compensation, screenwriters can protect themselves from exploitation and ensure that they are treated with the respect they deserve. #screenwriter #filmmaking

watch your steps 👌

Sometimes, as an Editor, I give in When working on a film project, creative conflicts often arise between the core creative team: the writer, director, DOP, composer, and the editor. These conflicts are natural, as everyone involved is passionate about their work and confident in their vision. As editors, we sometimes find ourselves on the opposite end of the spectrum from the director, debating a dialog, shot, or scene. Yes, both parties are working toward the same goal: the betterment of the film. But what do you do when you feel strongly about your decision and fail to convince the director? This is where I sometimes choose to give in—and I believe it’s important to handle these situations thoughtfully. At the end of the day, for the director, a lot is at stake if the film doesn’t perform well. Striking a healthy compromise becomes essential. This isn’t about ego; it’s about collaboration. My ideal approach goes like this: "I don’t fully agree with the choice of {shot/scene/dialog/motivation}, but if you feel it’s essential to the film, I’ll do my best to edit it as effectively as possible." This way, you contribute your expertise while respecting the director’s vision. It’s not always about being right—it’s also about maintaining the relationship. Sounds a bit like marriage, doesn’t it? ------------------------------------- P.S. Sometimes, after insisting on their version, the director might later ask to revert to your original suggestion after feedback from others. As you smile victoriously within, never say, “I told you so.” Instead, respond graciously: "Yes, that’s a good call. Let me get on that immediately." In moments like these, you know your intuition and skill are working for you. So, smile again and move forward with confidence. #filmeditors #videoeditors #postproduction

AfterCut - Precise Professional Feedback on Film Edits Before Release ✂️ 🎬 Earlier and more so of late, we've seen an increasing number of films struggle at the box office. Audiences come out dissatisfied, some throw around words like lag, action block super, first half amazing, unwanted songs, bad climax, etc. (in the context of Indian films), and professional reviewers dissect the film on YouTube. If and only if the film has really hit the mark and the reviews say so, the word of mouth spreads and helps the film. Other than that, every other talk about the film—reviews, opinions, and criticisms—is practically useless to the film and the makers. Let’s reverse this process. What if you received all those unbiased comments and feedback before you released the film, giving you an opportunity to correct it before it hits the big screens? But you may ask, what about Focus Group Screenings—don’t they do the same thing? Actually, no. Focus group screenings have a mix of audience members who often end up giving generic feedback on a form against a few questions. This might give the filmmaker some idea but nothing precise. That is where we come in. AfterCut provides professional, actionable, honest, and unbiased feedback on your film edit, listed against a timecode, with creative workarounds for every pointer, scene analysis, and climax analysis. The report can run into a minimum of 25+ pages. All this is delivered in 2–3 days of turnaround time with complete confidentiality and protected with NDAs. We also help you understand the pointers over a video call. Yes, this service doesn’t exist currently, and it opens up a whole new market. This cannot be automated. It needs someone who is adept in storytelling, screenwriting, and all aspects of post-production. It takes a team to do this work. We have just launched and are opening up to receiving projects from the first week of January 2025. Please check out our detailed website: www.aftercut.in and spread the word!