New York magazine recently put out a feature on how to make an anthology film about the laundries of New York.
The idea is that by exploring the history and current issues surrounding the places you visit in a way that doesn’t necessarily lend itself to a typical Netflix binge, you can create a movie that’s both informative and entertaining without feeling like you’re watching a Netflix documentary.
“You can make an actual film about a place and the culture that surrounds it, without the trappings of a film festival,” the article’s title says.
The article’s premise is simple enough: You’re in a restaurant, and you see a film about an employee.
You think, Oh, that’s a great way to spend my lunch hour.
But you realize you have to take a walk down the block.
So you head out to the nearest laundromate, a place where a lot of these movies are made, and get to work.
Here’s how the article breaks it down: The first step is finding the laundry.
The next step is figuring out what’s going on inside the launderette.
And the last step is deciding whether to tell the story in an episodic, story-driven way or to tell a more traditional narrative.
Here are some suggestions: 1.
For one of the films I’d recommend, “The Clam,” I went to a laundromatic in the Bronx called the “Kilgore Park” (which means “park”), and it seemed like a great place to start.
This is what the scene looks like, after we’ve got our camera rolling.
I found myself walking around the launderer, which is actually located in a nondescript corner of Manhattan’s Lower East Side.
The first thing I noticed was the white walls, which seemed like they were made from old wood.
The walls are covered in photos of the employees and the owner of the laundrome, and the pictures are all in pencil.
I figured out how to get my hands on a couple of these photos at random.
I found a few more, which I was going to take as souvenirs.
Start with a basic story.
This is a great example of how to go about building a movie around a subject.
The main character is the owner, and his daughter is the sole employee of the company.
The story begins with him and his family spending a weekend with his friends at a New Jersey island resort.
When he gets home, the house is in ruins, and he realizes that his daughter’s employer is also gone.
The daughter’s new employer wants to use the estate to make money, so he starts a business selling his family’s old clothes.
Create a character.
If you want to tell an episodically-based story, you need to create a protagonist.
For “The Whistler,” I created a character named “Jack,” who was a fisherman who had to make the perilous journey from Maine to New England.
Jack was the main character in the film, and I wanted him to have a personality that was rooted in the real-life situation.
In order to create that personality, I started with a simple story about how his life unfolded.
He had just finished a stint with the US Coast Guard, and was now living in Massachusetts, where he had a new wife and kids.
Make sure it’s about your subject.
In the article, I mentioned that I wanted to make sure that my protagonist was someone who was not an outsider.
But this isn’t necessarily an issue if you’re an outsider, right?
Set the stakes.
This was a tricky one.
As a film maker, I knew that I was writing about the culture of a particular place, and that would likely be reflected in the way I depicted the environment.
So I decided to set the story to the point that the launderers were being threatened by the mafia.
However, the issue was that I didn’t want to write a movie in which the laundriers were doing the most they could to protect themselves.
Instead, I wanted them to feel as helpless as possible.
So the stakes were set at the level of a family who is trying to survive in a tough economic climate.
To get that balance right, I had to figure out how much I could tell about the owners, the mafia, and how much they were going to do to protect the laundres.
Get the right people involved.
The owners, for example, were the people who had made the laundrys famous.
And as someone who worked in the laundrettes, I didn, and don’t think that I would, write a story about a laundrer.
Because of that, I also had to get the right person to direct the camera, a problem that I’d faced before. Luckily