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Shuai Wang’s Journey from China to Charleston 38:30

16 hari yang lalu38:30

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Chef Shuai Wang was the runner-up on the 22nd season of Bravo’s Top Chef and is the force behind two standout restaurants in Charleston, South Carolina—Jackrabbit Filly and King BBQ—where he brings together the flavors of his childhood in Beijing and the spirit of the South in some pretty unforgettable ways. He grew up just a short walk from Tiananmen Square, in a tiny home with no electricity or running water, where his grandmother often cooked over charcoal. Later, in Queens, New York, his mom taught herself to cook—her first dishes were a little salty, but they were always made with love. And somewhere along the way, Shuai learned that cooking wasn’t just about food—it was about taking care of people. After years working in New York kitchens, he made his way to Charleston and started building something that feels entirely his own. Today, we’re talking about how all those experiences come together on the plate, the family stories behind his cooking, and what it’s been like to share that journey on national TV. For more info visit: southernliving.com/biscuitsandjam Learn more about your ad choices. Visit podcastchoices.com/adchoices…

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The ultimate destination for one-location movie enthusiasts! Bubble Pictures Studio explore over 400 captivating movies, revealing how a single location becomes the canvas for cinematic brilliance, budgeting ingenuity, and aspiring filmmaker opportunities—celebrating the genius of filmmakers turning limitations into storytelling magic in the world of one-location movies.
***www.bubblepictures.studio

13 episode

#Cinema #Kiana @bubblepictures.studio

One-location Movie's Podcast explicit

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13 episode

#Cinema #Kiana @bubblepictures.studio

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Episode 11 - Cube Phenomenon: A Singular Setting Movie Franchise 3:51

1 year yang lalu3:51

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Let's rewind to 1997, when the first " Cube " movie emerged from Canada, backed by financial support from the Canadian film industry. With a shoestring budget of about 350,000 Canadian dollars, it initially earned around $500,000 in the United States before Samuel Hadida and his company, Metropolitan Filmexport in France, entered the scene to change its fate. Recognizing its potential, Hadida decided to invest $1.2 million in its marketing campaign—more than three times the movie's original budget. His team orchestrated an extensive promotional strategy in France, distributing flyers across cities and organising promotional events. The result? "Cube" became the second highest-grossing film in France that summer.…

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Episode 12 - One-Location Movies: Success Stories and the Formula for Filmmaking 3:53

1 year yang lalu3:53

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Welcome to the final episode of Chapter One. When I started exploring one-location movies, my first step was to research, watch, and categorise them into distinct groups to understand their nuances better. So far, I’ve introduced and organised these films by decade—from the 1950s and earlier to the 1960s onward. This journey led to a list of over 400 one-location movies . Through my research on one-location movies, I’ve gained a deeper understanding and am now prepared to undertake more extensive research. My aim is to create a guidebook that uncovers the secrets of these films, and more. This is Kiana Firouz, and thank you for joining me on this journey. for more details and updates, please visit www.bubblepictures.studio .…

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Episode 10 - 90s: One-Location Movies Exploration 6:16

1 year yang lalu6:16

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Welcome to the vibrant world of the 1990s, where one-location movies took on new levels of sophistication and playfulness. Join me in exploring some of the era's most iconic films, from sharp-tongued comedies to mind-bending suspenses, all set within the confines of a single space. Check out the list of movies .…

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Episode 9 - 80s: One-Location Movies Exploration 7:28

1 year yang lalu7:28

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Welcome to the neon-lit world of the 1980s, where one-location movies continued to captivate audiences with their exciting plots, quirky characters, and innovative storytelling. So buckle up as we embark on a journey through some of the most memorable films of the era, all set within the confines of a single space. Check out the list of movies.…

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Episode 8 - 70s: One-Location Movies Exploration 9:17

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In the last episodes, we delved into the captivating world of one-location movies from the 50s and 60s . Now, let's step into the dynamic decade of the 1970s, where filmmakers continued to push boundaries and explore the depths of storytelling within confined settings. From psychological thrillers to science fiction epics, the 70s offered a diverse cinematic experience set in a single location. Check out the list of movies .…

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Episode 7 - 60s: One-Location Movies Exploration 4:47

1 year yang lalu4:47

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In the last episode , we talked about the One-Location Movies back in the 50s. Now, let's dive into the 60s movies. We go from a prison in France to a club in Mexico. Check out the list of movies in the description. In "The Hole," a 1960 movie, it's all about breaking out of prison and dealing with betrayal. Since there's no music, every noise you hear is just what you'd hear in a real prison. Another movie from the same year, "To Each Own Life," is set in Mexico City and shows a bunch of sex workers getting together in a club to ring in the New Year. Along the way, we see their struggles and letdowns. Things get pretty confusing in this era. Take "Last Year at Marienbad" from France or Swedish films like "The Silence" and "Persona”. But the mysterious "The Exterminating Angel" from Mexico stands out. In this one, a rich group of people find themselves stuck in a fancy dinner party for no good reason, making us think about society, people, and relationships in some pretty strange situations. The British cinema made waves with "Lord of the Flies," all about power, right and wrong, and what happens when we play with our wild side. And the Japanese achieved great success with "Woman in the Dunes," a captivating story set in a sandpit, reflecting on the struggles we all face. But not every movie from this time was a winner. "Violated Angels" by Kōji Wakamatsu didn’t quite hit the mark like others did. I found it lacking in substance, so I chose not to include it in my curated list of '60s one-location movies. Over in America, filmmakers are pushing the envelope with movies like "Who’s Afraid of Virginia Woolf?" and "What Ever Happened to Baby Jane?" These films dig into dysfunctional families and their psychological troubles. Then, there's "They Shoot Horses, Don’t They?" which explores how desperation can lead people to be exploited in extreme situations. And let's not forget about "The Party," which brings the laughs within the one-location movie universe . In the 50s and 60s, indie films started getting big in the US. Andy Warhol, famous for his art, gave experimental filmmaking a shot. His films were more about being creative than having big budgets. And when he started showing different sexual preferences on screen, it was a big deal, showing how society was changing. In the mix of all 60s movies, those set in just one place let directors go wild with their creativity, breaking the rules and showing us what it means to be human, even in small spaces.…

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Episode 6 - 50s and Earlier: One-Location Movies Exploration 7:52

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In the last episode, we established " 12 Angry Men " as a key reference and the initial benchmark for our journey into single-location films. Now, let's rewind a bit more and explore another collection of compelling one-location movies. After carefully reviewing a multitude of films, I've curated a list of around 30 titles. You can find further details in the article linked in the description. Now, remember when Hitchcock was the master of suspense, crafting stories in a single location like an artist with a paintbrush? Those were the days when filmmakers weren't afraid to tackle big, moral stories, set against backdrops ranging from a prison cell to the deep blue sea, from the gas station in Arizona to a hospital in Stockholm, love was portrayed as the selfless, heart-pounding emotion it is, but a means of confronting the punishments of the past. Take "Street Scene" from 1931 – the street isn't just a name; it's the stage where life's drama unfolds. It's like the street itself is a character, shaping the narrative and trapping our heroes in the web of human interactions. It's storytelling, street style! Back in the day, filmmakers drew inspiration from plays, bringing theatrical productions to the silver screen. Akira Kurosawa and Ingmar Bergman left their mark internationally, diving into the depths of humanity and showcasing life's complexity through the lens. Kurosawa ventured into the forest, while Bergman opened the door to a maternity ward, Across the English Channel, French and British filmmakers introduced psychology and philosophy to the single-location setting. In 1945, the British film "Dead of Night" served as a framing narrative for several stories told within the confines of a room in a country house, employing flashbacks. Each story exhibited a quality of horror, weaving everything into a psychologically entangled loop. In France, Jacqueline Audry turned Jean-Paul Sartre's play "No Exit" into a movie depicting a unique kind of hell—no physical torture, just the presence of other people. In Audry’s adoption, we get to see the characters' loved ones as well. However, in the BBC adaptation; they simplified the story and kept us on the edge of our seats with just three actors in hell. This adaptation proved that movies shot in multiple locations can be remade in a single location without flashbacks or external shots. It highlights a theatrical storytelling style, relying on characters and dialogue to drive the plot. Exploring one-location movies from the 50s and earlier reveals a rich tapestry of cinematic storytelling within confined settings. Despite the technological limitations of the early sound film era, filmmakers demonstrated remarkable creativity and ingenuity in crafting compelling narratives. The single-location concept transcended genres through innovative visual storytelling for the medium of cinema from horror to arthouse movies and from drama to crime mystery. The 1950s cinema era wrapped up with films like "12 Angry Men" and "House on Haunted Hill," where right and wrong kept being questioned. Up until a point in "Seven Waves Away," the narrator directly asks the audience to be the judge. Besides tackling deep questions about truth and morality which wasn’t new to theatre, this era marked a shift. Filmmakers realised the importance of engaging the audience, they realised what they show could be different from what the characters say, and close-ups changed the game of storytelling. Cinema wasn't just for…

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Episode 5 - Sidney Lumet's Real-Time Storytelling in One-Location Movies 4:36

2 years yang lalu4:36

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Sidney Lumet, with a background in theatre, directed over 40 movies. His debut, the breakthrough films "12 Angry Men," set a benchmark for one-location movies. This cinematic achievement involves real-time storytelling and unfolding a narrative within a single room. It gives the camera a purpose, conveying the passage of continuous time without openly drawing attention. "12 Angry Men" was filmed using a series of continuous takes. Each sequence of events unfolds in a single continuous shot before transitioning to the next. The story progresses by moving the camera into different types of framing. This seamlessness is due to our eyes naturally following what is being emphasised. Consequently, we don't consciously register that what we're watching is all captured in a single shot; it feels more expansive. The magic of this visual storytelling technique ensures that we witness reactions as they happen without the need for cutaways. This fluidity in visual storytelling is achieved through the movement of actors and the continuous running of the dynamic camera, creating an immersive experience. Sidney Lumet carried this directorial style into "Deathtrap," another one-location movie. Deathtrap's story happens mainly in a house along with a few scenes of theatre, a taxi and a train station. Avoiding extensive set changes, he gradually reveals the house's layout, using variations in decor to reflect changes in the story and characters' actions, infusing a theatrical vibe, and calculated staging. His choice of shots creates more space around the characters and lets the audience and the characters have room to breathe. The overall effect is a theatrical atmosphere where mobile staging becomes a tool for character revelation. Deathtrap looks stunning. Sidney Lumet's commitment to prioritising story over decorative style or over-imposing his skills onto the screen is respectable, and this dedication also shines through in "12 Angry Men." And became one of the most highly-rated films of all time. This film goes beyond mere entertainment; it transcends the medium of cinema. Lumet's vision was not confined to the screen; it became a timeless exploration of the importance of asking questions, engaging in arguments for reasoned decisions, critiquing the justice system, and addressing human biases and prejudices. For all aspiring writers out there, he re's a nugget of inspiration: "12 Angry Men" was Reginald Rose's second teleplay, inspired by a trial he experienced. It reminds us all that opportunities lie in unexpected places. So keep your curiosity sharp, hone your skills, and let your passion and ambition guide you. There's always a story waiting for your unique perspective in every room you step into. This is the one-location movie podcast , where every location tells a story !…

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Episode 4 - Homebound Desires: Exploring Sexuality in Two 70s Movies 6:01

2 years yang lalu6:01

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I watched "The Servant," again to get ready for this podcast, a film that I added to my one-location movie exploration journey. This 1963 British classic has more layers than I remembered. When I first watched it was several years ago while working on our movie script called "Lines." with my brilliant writing companion, Stacey Williams. We looked at "The Servant" for inspiration on power dynamics. The stair scene was a revelation, exploring how power shifts between characters – I later turned that script into a black and white graphic novel, which led me to start this platform , delving even deeper into the world of a one-location movie universe . What I had in my mind was that "The Servant" is a one-location movie. But guess what? No, I noticed a few scenes outside the house – a restaurant, phone booth, bar, pub, and even a snowy park. Although they are short and convey a sense of claustrophobia, I was unsure if "The Servant" really fit the one-location bill, Yet, as the story unfolded between the butler and the master within the walls of that house, I realised it had so much more to teach about shadows, the power of location, and storytelling within a confined space. To mix things up, I paired "The Servant" with a 1970 American film, "The Boys in the Band." But the main gig is the house – a private space where characters spill their truths in their own way. What ties these films together is not just the physical setting but the intricate dance of mirrors and reflections, portraying the duality of characters. The combination of anger, ambiguity, and despair within the confines of a home creates a disturbing yet powerful cinematic experience. "The Boys in the Band" takes us from room to room, with every space carefully set up to tell a story. The house becomes a character itself, shaping the characters' interactions and the passage of time. In both films, the house serves as more than just a backdrop; it's a lens through which we explore the complexities of human behaviour in a confined space. It's an intimate arena where characters reveal their true selves, and the visual language of mirrors adds another layer to the storytelling. Exploration of homosexuality in the most intimate place, at home. From bathroom, bedroom to kitchen and living room of one-location wonders, where the house becomes not just a setting but a key player in the narrative of most private human experience. It's a setting that lets characters be their true selves, setting the stage for some serious drama. It's a canvas for exploring humanity's most vulnerable, exposed, and self-destructive aspects. Remember, when you're shooting in a home, you've got the green light to dive into your characters' raw, unfiltered version. It's a space where they can be more intimate, more real. So, if you're considering making a one-location movie in a home, I'd recommend studying these two films frame by frame, especially with muting the sound – it could bring a whole new level to your project. Stick around for more episodes, and more one-location movie magic . Until next time, happy watching!…

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Episode 3 - A Dialogue Movie: Shining from Stage to Screen 5:39

2 years yang lalu5:39

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Today, we're plunging into the mesmerising world of a film that gracefully transitioned from stage to screen, and let me tell you, I adore this dialogue-driven masterpiece. I'm talking about "Who's Afraid of Virginia Woolf?" Picture this: a younger version of me, at 19, clutching a DVD, surrounded by the ambience of an orange chequered curtain in my Tehran bedroom. I was watching this cinematic gem on a tiny TV, and my love affair with this movie began right there. Little did I know, I was in for a wild ride, a night filled with sharp dialogues unravelling the twisted power dynamics of Hollywood power couple - Elizabeth Taylor and Richard Burton - who poured their hearts into this production. Now, they say Edward Albee wrote the play in just three days. Quick, right? And that speedy rhythm, that drunken dance of words, made its way to the screen, thanks to the wonderful director Mike Nichols. It was his debut, and what a debut it was! Elizabeth Taylor herself requested him, and he delivered, later earning an Academy Award for "The Graduate." movie; leading his way to direct ‘Closer’ movie in 2004. I love that movie too. But let's stick to this piece of wonder, and not forget the unsung heroes - the production designer, Richard Sylbert who crafted that cosy, detailed house. And let's not overlook the intense work of cinematographer Haskell Wexler, who painted this movie with violent light and captured its essence. The detailed set, the haunting lighting, the black-and-white cinematography – it all blended seamlessly to capture the clawing violence and complexity of these characters. Now, you might wonder, is this a one-location movie? Absolutely! Even though they took a detour to Northampton for some scenes, the heart of the action unfolds in one house. It's a playground for character exploration, and believe me, these characters are the stars. And oh, the dialogue! In one-location films, it's a make-or-break situation. No fancy CGI or sprawling landscapes here, just characters baring it all. The emotions hit hard and fast, making you connect with them on a deep, visceral level. Speaking of connections, let's talk about the crossover between stage plays and movies. In the future, I'll explore more of the crossover between stage plays and movies. However, "Who's Afraid of Virginia Woolf?" serves as an excellent case study for one-location movies. Theatre, with its intimacy and active participation, offers a unique perspective on humanity, psychology, and conflict. And guess what? It's cost-effective and can afford to take risks, and risks often lead to brilliance. Now, when movie scripts come from stage plays, they bring the immediacy, diversity, and transformative power of live theatre to the big screen. So, next time you're curled up with a classic like this, remember the journey it took from stage to screen and savour the unique flavours it brings. So, for all you aspiring filmmakers without a script in hand, here's a tip: grab a public-domain play and create your one-location movie as if your life depended on it. Stay tuned for more episodes, and more one-location movie magic . Until next time, happy watching!…

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Episode 2 - Alfred Hitchcock and One Location Movies 10:59

2 years yang lalu10:59

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With over 50 movies under his belt, he redefined cinema and left an indelible mark on entertainment. It's impossible to discuss the history of motion pictures in any capacity without a nod to Alfred Hitchcock. "The Birds" and "Psycho" introduced me to the Hitchcock world while studying film in Tehran, during my early twenties. I wasn't drawn to the stories he presented, but rather, I was captivated by the techniques he showcased. The camera work, the editing, the visual aesthetics, the playfulness, and the experimental nature of his filmmaking approach—everything about it fascinated me. I mean, he tried it all. In addition to a bite-sized article available on the Bubble Pictures Studio website , here we explore Hitchcock's pioneering a unique form of visual storytelling dedicated to cinema. His camera was like a painter's brush, capturing specific objects, elements, and actions to evoke emotions. Even with muting the sound, the narrative in his movies is still understandable. In "Lifeboat" we’re on a survival journey. A diverse group—all stuck in this tiny lifeboat. Blocking and staging for this movie was not easy, yet again, Hitchcock made it look otherwise. Let's hear Pat Hitchcock and Dr Drew Casper from Peter Vantrella’s documentary named “Alfred Hitchcock's Lifeboat: The Theater of War” Imagine how much Hitchcock himself learned from making "Lifeboat" and helped him kick off his other movie "Rope," the movie he made four years later. In Rope, Brandon and Phillip, attempt the perfect crime by strangling their ex-classmate with a rope. What makes it stand out is how Hitchcock shoots the murder in continuous take, making it feel like it's happening right in front of you. Let’s listen to Arthur Laurents, the screenwriter for some hidden gems … in "Rear Window," the movie unfolds as a suspenseful exploration of voyeurism and obsession. And Hitchcock plays with our view to keep us hooked. Additionally, I encourage you to listen to Gary Rydstrom as he explains the sound design of 'Rear Window.' You can find the complete version on our Instagram account . After viewing all four of these movies, I took a moment to reflect, and it struck me that there wasn't a traditional hero in any of them. While stars were portraying the main characters, Alfred Hitchcock made sure you know that he was the one orchestrating these movies Through his intentional choice of shots, the commanding use of the camera, whether through editing or the absence thereof, and the strategic deployment of sound, Hitchcock loudly proclaimed himself as the true hero of his movies. Perhaps, this is why I've always learned valuable lessons from his movies without necessarily falling in love with the narratives. It's important to understand Donald Spoto, Hitchcock's biographer, as he explains the concept of 'pure cinema.'... (soundbite) This cinematic approach, though a gift to movies, emphasises the need to know who's behind the camera and what are their intentions, if there are any. To me, Hitchcock was a master of form, yet the stories, particularly the depiction of women and the dialogue employed against them, left me uneasy. Examples like the unnecessary violence in the attempted killing of Margot, the character played by Grace Kelly in "Dial M for Murder," or the ending representation of Lisa, also played by Grace Kelly, in "Rear Window," linger in my thoughts… Also, the&…

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Episode 0 - Introduction 2:34

2 years yang lalu2:34

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Hey, movie lovers! Welcome to the B.P.S podcast . Well, I hope this is your go-to platform for one-location movies. I am Kiana, your host, and this is an introduction that tells you why we're delving into the captivating world of one-location films. At Bubble Pictures Studio , we're not just creating stories, or making movies; we're on a mission to dissect and celebrate the magic of films set entirely in one place. We'll explore over 500 movies contributing to this realm, featuring films that left a lasting impact on critics, audiences, and film lovers. The groundbreaking movies like "12 Angry Men," and "Who's Afraid of Virginia Woolf?"; one showcased the power of a single room in a court for tension and drama, and the other explored the appeal of dialogue-driven narratives. These seemingly simple films hide profound complexities that captivate audiences. One-location movies are productions where the entire story unfolds in a single location. This approach not only facilitates smart budgeting but also serves as an excellent platform for emerging filmmakers. Having all the equipment in one location during principal shooting days streamlines the process and enhances efficiency. So stick around as the mission is to expose the secrets of one-location movie universe and celebrate the genius of filmmakers turning limitations into creativity. We'll share insights of filmmaking journeys, from low-budget movies that generated fortune, to embracing the creative challenges of one-location movies. So, put your earphones on, take a walk, and let's explore the movies that unfold all in one place. This is the one-location movie podcast, where every location tells a story.…

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Episode 1 - One Location, Infinite Profits: The Financial Success of ‘Saw I’ 5:40

2 years yang lalu5:40

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Hey, movie lovers! Alright, so I watched all the Saw movies, and I have to admit, the franchise as a whole didn't quite grab my interest. However, there's something special about the original one from 2004. I found myself revisiting it after putting together a brief article on its financial success—a handy piece of info for a quick overview. Which you can find linked in the podcast description if you're interested. As a creator and filmmaker myself, I appreciate the passion that went into making the first Saw film. Two guys, one room, chained up. Simple, yet Perfect! What's particularly fascinating is how Leigh Whannell and James Wan, both just 26 years old at the time, changed their lives with this movie, leading them to step into the industry we all hold dear. One standout aspect for me is the opening sequence, especially the first five minutes. Watching Adam wake up in a bathtub filled with water, it almost feels like he's emerging from a womb into an unknown world. The dialogue in those moments— "You’re not dead. No one can hear you."—sets the tone, and Adam's reaction, "What the fuck is this?" set the film's vibe. The choice of a doctor as the character in the room is clever, credit goes to Whannell and Wan for crafting this, two decades ago. Following those intense first five minutes, the ticking clock becomes a character in its own right, and the race begins. It's amazing how a small but impactful beginning can set the stage for the entire movie. The dialogue is filled with questions, and the sound and music play with your nerves. There is no need to mention the camera work creating tension as well. I've never been a fan of the violence often featured in movies, and horror movies are not my thing, although they’re growing in me, But you know what's cool? The message in this movie. It's all about appreciating life and making the most of it while we can. I'm totally on board with that. Yet, the reality is, filmmaking comes with a hefty price tag. That's why I want to shine a spotlight on one-location movies that can be a financial saviour for filmmakers. Same goes for this movie, thay created different rooms in a warehouse, like a cop station, hospital, and torture room—all in one place—which is a location manager's dream. It gives control over every aspect of production too. Consider the thought process of Leigh Whannell and James Wan, creators of the film I'm discussing. If you get a chance, check out their interview with AV Club from 2010. They asked themselves, "What's the cheapest thing we can do?" Their answer: two guys in one room, no windows, chained up so they can't go anywhere. —simple yet effective. But you really need to focus on writing. I encourage you to watch this movie and explore how a one-location setting, with the right ingredients, can be the canvas for a remarkable debut film. So here's my question for you: Do you want to spend your time makeing a torture movie or you want to turn that one-location you’ve got to yet another masterpiece? Stick around for the next episodes to see what other filmmakers make of their one location. Remember, all we need is a well-crafted script. This is the one-location movie podcast , where every location tells a story.…

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