Tamil Short Film Scripts Free Download Pdf
Mirthe Luria
The journey in creating Other Homes started three years ago when the COVID pandemic had just begun. Coming from a low-income family, I was forced to delay my studies as a film student at Harvard College, so I worked for two years in Hollywood as an executive assistant and as a freelance editor. I rented a walk-in closet for $300 a month and ate one Chipotle bowl a day to make ends meet. I saved every penny so that I could support my family while still working towards my goal of making a high-production short film.
As we got closer and closer to the shooting dates, there were still numerous obstacles to overcome. Where would we find a baby? Where would we find the necessary boats? Would there be a production designer interested in taking on this project? Each question was always met with another question, but slowly and surely, we found our plan of action. We would shoot in Gangwon-Do, a province in South Korea because one of the actors was a former member of the Marines and a scuba diver, so he had connections to the boats there. We found a newborn baby through an online posting, and in order to ensure the safety of all participants of the film shoot, the whole crew took PCR tests before shooting. We found a production designer able to create a historical replica of a boat from the 1950s. My director of photography, ByongHoon-Jo, recommended we film on a soundstage and then on the water, which would be safer for the actors and the crew. All in all, we concluded that we would shoot for four days: one day in a safe harbor with the replica boat, two days on land after that boat was delivered by crane to a warehouse and one final day on the boat in the winter ocean.
The first day, things were hectic as we had to juggle communications between a bilingual crew and a logistically complicated shoot. Though we had set out with a plan, those plans were constantly changing based on the weather and the safety of our crew. We filmed the easiest scenes first, but we quickly realized that we were falling behind schedule. The sun sets early in Korea (around 4:30 pm), and every extra take meant less time for later scenes. That meant we were constantly racing the sun in order to get the shots we needed, but we successfully managed to capture everything before the sunset. After the completion of shooting the first day, we lifted the boat into the warehouse.
On the third day, we found out that the workers would be working throughout our film shoot, so we delayed our call time until the warehouse was finally free. When we finally did film, we were ready for the delays because we had adapted our schedule to make sure we got every necessary scene. After shooting a few scenes, the boat was moved back to the harbor.
You can stop reading here if what you need to hear is: "Every story is different and the details and situations dictate the length." But, there are certain lengths that make readers worried before they scroll through your PDF or pick up your script off the stack.
I've talked about my love of Screenwriting Reddit before, and I'll double down here. I'm on the forums every day, scouting articles for us and just trying to contribute amongst the noise. I came across a question about script length -- it's from americanslang59. Check it out below:
Under 80 pages feels too short for most Hollywood executives. (A Quiet Place was 76 pages, the original spec that went out, and that's largely because the movie lacks dialogue which helps extend page length. That is an exception to the rule here.)
Look, I know some of the greatest writers of all time have written long movies. But if you're reading this blog, chances are you're not Scott Frank. Or David Mamet. Or Steven Zallian. Unless you are Scott Frank; in that case, please let me buy you lunch or coffee and ask you questions.
I came up in the development world. I worked for a powerful producer. We took a ton of specs and turned them into films. But the longer spec, the harder we know it would be to get it into production.
A 123-page spec script is going to be an expensive movie. Without knowing the genre or scale, I can tell you that when I worked in development, we would worry about it. It means more shoot days, more setups, longer times with crews, etc.
If your story is perfect, a director and producer will board ASAP. Then cast. In the end, you might be subjected to a studio cutting or butchering the story, but that will happen only after you are paid and your perfect script is disseminated around town, solidifying you as the famous writer I will learn from and buy coffee for.
Lucky for us we still live in a (mostly) civilized society, and sometimes we get some cool freebies. While a bit more of a tease than a true altruistic gift, Fandango graciously released the first 10 minutes of Furiosain honor of its VOD release. No bartering required.
Is this ultimately a marketing move to get you hooked to watch more? Absolutely! But, hey, it's still fun to have a little chunk of such a wonderful movie at arms length for zero dollars. Plus, with a movie this cool, I'm all about Fandango pushing to get a larger audience hooked on the Furiosa supply.
As much as we love to read scripts, too many excellent shorts never progress beyond the written word, which is why we established the Shore Scripts Short Film Fund to help take those compelling stories off the page and onto the screen.
Grand Prize Winner - A Cash Grant of $15,000 and support from Shore Scripts to take your screenplay through pre-production, production, post, and distribution. Plus, free camera equipment rental from ARRI Rental for the duration of production. On top of that, our winner will receive a Film Festival Strategy Package with Tribeca programmer, filmmaker, and Academy member, KIMBERLEY BROWNING.
Both Winners will connect with two-time Oscar-nominated producer MARIA GRACIA TURGEON for development, production, and career guidance. Both Winners will also have the opportunity to have their scripts circulated to select members of our Industry Roster and Directors and will receive a free 30-minute consultation with Seed & Spark.
As a new writer, getting a script produced is a transformative career milestone that can lead to new opportunities and help you pitch your stories to producers, managers, and agents. Our Short Film Fund was established to commission production projects from emerging screenwriters and create another avenue for them to get their work seen by the industry.
The Fund accepts submissions from writers, directors, and producers from around the world. We are open to working with directors attached to the project, even first-timers. However, if you are a standalone writer, Shore Scripts can assist in attaching a director and team to the project, if needed. We also accept submissions from produced shorts seeking finishing funds.
We do not seek to obtain any rights over your script or the finished film at any time. For those who take the funding, we ask for a production company credit and access to promotional material for the resulting short film to promote the project and Fund in the future.
Grand Prize Winner will be awarded a Cash Production Grant of $15,000, free camera equipment rental from ARRI rental for the duration of production (some restrictions may apply), a Film Festival Strategy Package from Tribeca programmer KIMBERLEY BROWNING, and a free online or in-person All Access Badge to HollyShorts 2024. Once the film is complete, the Winner will also have the opportunity to circulate the finished film to members of our Industry Roster of producers, agents, and managers.
Both Winners will connect with two-time Oscar-nominated producer MARIA GRACIA TURGEON for development, production, and career guidance; and will receive a free 30-minute consultation with Seed & Spark.
Top 5 Finalists will receive feedback on their scripts from one of our esteemed Judges. And, new this season, one US-based writer will get on a call with Natalie Gergely (VP, Scripted at Gunpowder & Sky) and one European-based writer will get on a call with Kirstie MacDonald (Creative Director of TV at FilmNation) to discuss their projects and receive career advice.
* We accept all genres. If your script is a combination of multiple genres or sub-genres, use the Coverfly Genre dropdown to indicate the main genre on your submission, and make a note of other genres, and any other information you feel will be relevant to the reader in the Comment to Reader field.
* Each writer, or writing team, may not have earned more than $50,000 in screenwriting fees in the preceding 18 months. This clause is in place to help us support emerging talent. (Contest and Fellowship awards and writing fees received outside of fiction screenwriting do not count toward this total).
* The decision of Shore Scripts is final. By applying to the Fund each participant agrees to hold Shore Scripts, our judges, and sponsors immune from any competition disputes, claims, liabilities, and expenses.
* If Shore Scripts helps a writer gain representation, option, sell, or have their screenplay produced, then we are entitled to state this on our website and any other platforms whenever we see fit.
* The Winners consent to Shore Scripts using their name, script title, and any other relevant information for promotional purposes on our website. This will be used to inform other contestants and the media of the results. We will also be unrestricted in how and where we promote the finished film once it is officially released.
* If the writer wishes to direct their own script, then it will be given serious consideration. A previous portfolio of work will help in making this decision. We are also open to working with first-time directors.
* Please note that our sponsor ARRI may not be able to supply equipment if the project is to be filmed in a country where they do not operate. Production will also need to cover any logistics and costs of getting camera equipment to the set.