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Stories
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For TV and Film, Is It Always Nice to Be Nice?
Let’s Not Discount the Pretty Genius Production of “Jackass”
“C’mon C’mon:” Getting Emotional With Mike Mills
Why Are We Betting on a Wide Release for (Essentially) Independent Films?
“Wife of a Spy:” International Thriller and 8K Proof of Concept Production
How “The French Dispatch” Became the Most Wes Anderson Film to Have Ever Wes Anderson-ed
Witch’s Brew: Horror + Arthouse + Production Value + Social Commentary
“Dune:” Is it Possible to Film the Unfilmable?
“The Village Detective:” Reconstructing a (Literally) Resurfaced 50-Year-Old Russian Film
“1899” and How Netflix is Viewing Virtual Production
“Filmmaking 1.0 to Filmmaking 5.0” — Virtual Production Technology Is Ready
“Black Widow” Cinematography: How to Keep the Focus on the Film’s Characters
Managing Film Festivals in an Uncertain World
“Concrete Cowboy” Walks the Line Between Documentary and Narrative Filmmaking
Shooting “Godzilla vs. Kong” as an Immersive 800 MPH Brawl | Source: Film School Rejects
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