Artem Miachin

Unique traits: Artem Miachin is a screenwriter, designer and journalist. He has written two feature in the genre of thriller and drama. His thriller has a visualization in comic book format. It's a neo-noir story about a criminal leader, who neglects all of human laws and those people, who become victims or heroes of this story by the will of fate. I believe that as a screenwriter, my strengths are creating strong characters and details that will hold the viewer's attention and will be remembered for a long time. I can quickly convey those emotions or thoughts that a character is experiencing, without unnecessary words and long scenes that create blurry attention for the viewer in the film. This skill helps me to create beautiful scenes. I can explain what I mean with famous examples, like in the movie "The Atonement" with Keira Knightley and James McAvoy. There is the moment Robbie sends a letter to his sweetheart (Cecilia) with the help of her little sister (Briony). The letter, which he wants to send to his beloved is a second letter that he wrote earlier, after a vulgar, but funny first letter. However, when he's watching how his beloved's younger sister is running away with his letter, while he's hitting several times with a lighter, he suddenly remembers that he was doing exactly the same things with a lighter before, when he's forgetting to change that vulgar, funny letter in an envelope on it's his declaration of love. You can see it in his eyes, eager for sweetheart's reaction. However, his expectation gives way to fear at the moment, when he realizes which of his letters is actually in the hands of his beloved's younger sister. This scene takes only one or one and a half minutes, but they are these small things, which always make up a good picture in a film. This remains in the memory of the viewer for a long time. I learned an art of writing successful screenplays from these films. So I can call them my teachers, along with Syd Field (screenwriter) who wrote a tutorial on how to create a great screenplay on the rule of three-act, - a backbone of story. Another interesting step that I saw in the The Game of Thrones is some flow of a plot, otherwise it can be called continuity. This is a moment in a story when one scene flows to next one without a gap (pause) in a viewer's mind. For example, it was a scene in some castle's bedroom. While the characters are talking to each other, an open large window is visible in a background. The sea lies behind it, further, going away to a horizon. Some easy sea breeze irritates these curtains. It collapses down to their bodies, lying on a bed. Then a scene from a film strip takes viewer to an open sea. There are another hero of a television series, who tries to cope with a control of boat, during a severe storm here. And all this happens unobtrusively, without including the plot itself, but complements this story with "smoothness" - a fluidity of perception of an film's picture. This is not noticeable to every viewer, but when you are watching another tape, a gaze can be distracted due to a "raggedness" of plot, diverting a viewer's attention to the sides. Perhaps, this step was previously used somewhere else, but for a first time, I saw it in this particular television series. Another of my strong skill is to show a scene so that it can tell a lot about a character, either without using dialogue, or with their refined brevity. This is what attracts me so much to Hollywood films. Like in The Logan film. It's a film about an aging superhero. That moment I want to tell you about is the moment when Wolverine (Logan) is already a rather elderly man, with help of only one tension of his muscles, squeezes out the bullets from his own body that he "earned" in the shootout with the bandits at a very beginning of tape. He looks tired and aged. It is difficult for him to contain a pain. The ability to self-regenerate is no longer as instantaneous as it was in his youth. While you watch this one-minute picture in a film, you can learn more about what happened with his life than if the same story was told through dialogues or long, tedious monologues. His whole story becomes clear, like a sunny day, only from one of this scene with some few moments. It was so clear and dramatic! However, what I like most about writing is creating an interesting and engaging plot for a viewer. This makes the film so memorable. This is a dramatic goal, - a fate of hero. A structure of plot, connecting some life lines of the heroes among themselves over time. I hope that any of my films in a future will enlighten someone, at least on how to make a good story. After all, when you understand something yourself, you grow above yourself. Regards, Artem Miachin

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  The Lantern in Chinatown Budget: $30M+ | Thriller What would you do if you were in an accident in which by a tragic accident your friend has died? Then you are placed in a hospital, where you are stuffed drugs, and the psychiatrist suppresses you with some questions about your past? All it has already happened with Mike Olson before he realized that the accident on the road and the psychiatrist‘s interrogations about his past, are directly connected. THE LANTERN IN CHINATOWN combines the action and intrigue in the genre of thriller, while the two storylines develop and the protagonist and his viz'avi are colliding each other. As well as the ending of deep drama, with the characters whos simple and easy to empathize.

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  Darya Budget: $5M - $10M | Drama The serene days of a little girl end when her sick mother suddenly disappears. Now she has to make an adult choice: stay home or leave its in search of her mother.