Robert Morgalo’s Post

The Power of Short Films Many screenwriters focus solely on feature scripts or TV pilots, but there's a value in starting off smaller. Paula Hendrickson interviews writer-filmmakers Marshall Curry, Carmella Casinelli, and Bryan Buckley who share the power of short films for both your career and the audience Writing a short script is a great way to demonstrate your skills. Producing your script also allows you to showcase the talents of actors, directors, cinematographers, set decorators, and everyone working on the production. That makes short films great calling cards for all involved. Short films often generate attention at film festivals, but they can also serve as proof-of-concept to secure funding for larger projects. “Even if you’re a professional writer and you’re selling things, we all know they don’t always get made. So, one of the most rewarding things for me about short films is testing a bigger proof-of-concept.

Should You Get Started? Thinking about making a feature film, a short, or writing that screenplay? You might be sitting there, wondering if now is the right time. Here’s why you shouldn’t start: - Now’s not the right time. You’re too busy, right? - Filmmaking is a dying industry. Streaming is killing it, who even watches indie films anymore? - It’s too hard to make a career out of this. You’ll never “make it.” - You’re probably overthinking every little detail. - You’re imagining all the things that could go wrong. - You’re making it more complicated than it needs to be. The solution? “Only you know.” Frustrating, right? But here’s the truth: only you can decide when it’s time to move. There’s no perfect time—it’s always messy. As for the industry? Filmmaking is constantly changing, but stories are eternal. People will watch if you have something to say. And that career? Careers are made by starting, not waiting. So, if you feel ready, stop thinking about starting—and start starting. Here are 3 things you can do today to break the cycle of overthinking: - Set a timer for 30 minutes and write the first scene. Don’t stop. - Outline one sequence or idea. Just get it on paper. - Take a walk and think through your core story idea—no pressure, just clarity. Need some guidance? I’m offering 1-on-1 filmmaking coaching to help you cut through the noise. I have 5 spots left for November. https://lnkd.in/gnad72HS #filmmaking #screenwriting #indiefilm #creativity #coaching

Started A Narration Room & had a great time. It was an intensive session. Four hours of reading a screenplay with no distractions & then discussing about it, what a filmy day. Cinema Paradiso you'll <3 what's a narration room? The cast & crew of a film comes together to read a feature film's screenplay and discuss about characters, shots, writing, scenes, edit, sequence, choices etc When was the last time you read a film's screenplay? As an actor, writer, director, cinematographer, sound designer or anyone who just loves cinema, screenplay is the first stage of putting the vision on screen. But why only when you are about to make a film? I feel reading a screenplay is the best exercise there is for writing one, better than most of the writing workshops there are. I have been thinking of reading 50 a year but end up reading 5. Hence started with this. . #explore #actor #director #screenplaywriter #opportunities #castingcall #productionhouse #narrationroom

"Looking for a compelling script that captivates audiences? Whether it’s a feature film, short film, or TV series, I specialize in crafting engaging, original stories that bring your vision to life. Let’s collaborate and make your next project unforgettable. Ready to get started? Reach out now!" #screenplay #moviescript #reels #everyone #film #cinema #producers #filmmaking #shortfilm #Tvseries #featurefilm #scripts #movies

Filmmakers: there’s a magic word that gets actors to do whatever you want. It’s not “please”.   It’s “choices”.   🪄The magic of filmmaking, whatever the kind, lives in authentic emotional moments, and actors are making choices with how they are interpret the script, to bring that reality to your film.   👉 If there isn’t the emotional authenticity, weight, drama, or comedy you’re imagining... It’s on you as the director to step in and ask for stronger choices.   The best way to do this is by communicating what you’re looking for in the scene: what the subtext is, the baggage the characters are bringing to the interaction, and what they want out of it.   Then the actor needs to re-interpret how to be authentic in this new reality you’ve shared. Probably, they need to make a stronger choice… And yes, you can ask for that. 
The actor needs to go deeper into the well of their experiences and emotions and find the real, raw point of connection to the scene they are in.   If you’re directing, don’t act it out and get them to copy you. You don’t want someone imitating you, you want honest, authentic emotion.   …Because ‘acting’ isn’t about acting. It’s actually about being real.   If for some reason you absolutely have to give a ‘line read’ to communicate your vision, then also give the actor permission to interpret that how they want.   Pros won’t try to copy you anyway, even if you ask them to… They’ll just try to understand what you want and then make it real for themselves. But don’t take that chance.   👉 The magic of filmmaking, whatever the kind, lives in authentic emotional moments.
 I repeat: AUTHENTIC emotional moments. Help your actors find that reality, And bring magic to your film. #creativity #storytelling #filmmaking #filmmaker #creative #director #directing #producing #production #videoproduction #commercialproduction #acting #actors #cinematography #brandvideo #writing #screenwriting #scriptwriting #contentcreation #contentmarketing #contentproduction #commercialfilm #tv

What does it take to make a GOOD film? That’s a question that’s been with me ever since the start of my career as a filmmaker. So what does it take? Does it take good acting? Good editing? Good camera operating and so one and so forth. 🧐 Simple answer. Yes, they do. 👍 But is it the main answer? No. Making a film is like putting together a big jigsaw puzzle. Everything I’ve said are the pieces towards making a good film. But having a GOOD screenplay is the one that gives you the bigger picture of what you are putting together. ✅✍️ Screenplays is the most exciting part of filmmaking. Think of your idea. Write down your idea. THEN, produce your idea. To all my followers that are screenwriters, I salute you. You are doing an incredible job! ❤️

-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?

"Editing Means Forever Coming-of-age" - Part 2 Editors often love your films even more than you do. Having edited several debut films, I've seen directors and producers grapple with insecurities about their projects. Edit suites can be flooded with unfiltered feedback from all quarters - fellow filmmakers, public servant friends, distant relatives, even high school crushes, you name it. The trusty opinion of their editor, despite formed through hundreds of hours of discussion, creative exploration and bold experiment, can be dismissed as just another perspective. That is why I try to set mental anchor points, and confirm them with other creators at every chance - "Now, what's so uniquely awesome about your film?" Once they're set, they become immune to exterior influences and serve as a unshaken reminder that our films will be loved because of A, B and C. Without self-appreciation, every revision will be a destruction. (Image: Shall We Talk, a coming-of-age tragedy/drama I spent two years editing. Despite harsh criticism from authorities and being banned from theaters, it remains a work I'm immensely proud of.)

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