Filmmaking / Directing

The Definition of Reductionism from Oxford Languages is “the practice of analyzing and describing a complex phenomenon in terms of phenomena that are held to represent a simpler or more fundamental level, especially when this is said to provide a sufficient explanation.” (Ouch! Too heavy)

From Wikipedia: Reductionism can either mean a) an approach to understanding the nature of complex things by reducing them to the interactions of their parts, or to simpler or more fundamental things or (b) a philosophical position that a complex system is nothing but the sum of its parts, and that an account of it can be reduced to accounts of individual constituents. (Too many words)

ChatGPT defines Reductionism as “a philosophical and scientific approach that seeks to explain complex phenomena by reducing them to simpler, more fundamental components. It involves breaking down complex systems or concepts into their constituent parts in order to better understand and explain them.” (Okay. Getting better)

The Merriam-Webster dictionary defines Reductionism as “a procedure or theory that reduces complex data and phenomena to simple terms.” (PERFECT!!!)

Now here is MY simplified definition of Reductionism: “any complex system or concept can be better understood by taking its pieces apart, studying them and then putting them back together so you can see the larger picture.” :)

NOTE: Reductionism is what we use every day to help us figure out many things - not just in the “reel world” but in the “real world” as well! (Remember the first time you drove a car, used a computer, turned on your phone or made a cake.)

For our purposes as filmmakers, the Reductionism Breakdown System is "the process of reducing a script, budget or schedule down to its smallest individual elements by going from large to small, from general to specific.”

This Reductionism Breakdown System allows the director to better understand the structure and flow of the script, visualize the story by making creative decisions and help plan the shooting schedule and logistics.

For directors, the following is a “simplified” order of a Reductionism Breakdown System from the First Reading of the script to the First Shot on set emphasizing how each script element contributes to the overall storytelling process.

1. The SCRIPT is read and analyzed to understand the overall story, tone, themes, plot points, and characters. This comprehensive analysis helps the director to structure their vision with the story’s core elements.

2. The script is then divided into ACTS, which are major sections of the story that have their own story arc and climax. This division aids in structuring the film and planning the shooting schedule more effectively.

3. Each act is further divided into SEQUENCES, which are smaller sections of the story that also have their own story arc and climax. Sequences help to maintain the flow of events and contribute to the overall storyline.

4. Each sequence is divided into SCENES, which are individual units of action that take place in a specific location and time. Scenes are the building blocks that drive the story forward and reveal characters.

5. Each scene is then divided into BEATS, which are smaller moments within a scene that mark a shift in tone, emotion, or action. Beats help in pacing the scene and highlighting key emotional or plot points.

6. Each scene is then further divided into SHOTS, which are individual camera setups that capture specific actions within a scene to convey the story information and communicate the desired message and mood.

7. Each shot requires multiple TAKES to achieve the desired result. Multiple takes allow the director to capture different nuances of performance and technical perfection, providing more options during the editing process.

NOTE: Every department on a film uses this Breakdown System. The Producer/PM creates budgets; the Director analyzes the script and creates shot lists; the First AD designs the shooting schedule; the DOP organizes equipment lists, the Gaffer designs the lighting plan; the Caterers create menus etc.

Using the Reductionism Breakdown System, you can see how all the parts of a film can be broken down systematically into their smallest element. This process of reducing everything down to its smallest detail is crucial in the filmmaking process. It enables you to focus on just one item at a time instead of trying to conceptualize the whole production at once!

PERSONAL STORY: Here’s a good personal example of the Reductionism Breakdown System.

When I got the job as the First Assistant Director on the movie “Bird on a Wire" I was overwhelmed by the creative and technical logistics of this big action/comedy. (This was only my second feature film!) Plus, I was a little nervous working with such an established director as John Badham!

I honestly wondered how I could prepare such a demanding film with two major Hollywood stars (Mel Gibson & Goldie Hawn), lots of stunt action with many locations spread over two cities. BUT... after two months of prep, I was totally prepared for our first day of shooting!

What happened initially was that I was overwhelmed on my first readthrough of the script because I could only see the “magnitude” of the film as a whole. I was just looking ahead to the end result with no idea of how to get there! But once I started to REDUCE the script and schedule into more manageable elements, it became clearer and clearer each day on how to proceed.

NEXT ARTICLE: Things You Don’t Know + Research = Things You Know

I wish you all the very best for 2026 !

We all carry strong ideas within us—whether they take the form of scripts, filmmaking visions, or thrilling music. May this year give them the space and momentum they deserve.

Let’s raise cinema to the highest level together.

Warm regards,

Julien

There’s a lot of noise right now around “fully AI-generated films.” I think that misses the more interesting , and much closer reality.

The most viable near-term model isn’t no actors.

It’s one or two central human actors, with AI handling everything else.

Here’s why this hybrid approach works:

• A single real performance anchors emotional truth.

Audiences subconsciously lock onto breath, timing, micro-expression. Once that anchor exists, AI-generated environments and supporting characters become far more acceptable.

• It collapses the hardest AI problems.

Multi-actor blocking, group dialogue timing, long-range emotional coherence, most of these vanish when the human performance is the spine of the film.

• Scope decouples from budget.

AI can generate locations, weather, extras, camera moves, and post-production without a traditional VFX pipeline. You shoot the actor once, then build the world around them.

• It preserves acting as a premium skill.

Rather than replacing actors, it concentrates value. Fewer roles, but more weight. Performance becomes the watermark of authenticity.

This isn’t theoretical. With a locked script, this model is already technically achievable today, and commercially viable within the next 12–24 months, especially for contained thrillers, sci-fi, horror, and character-driven dramas.

I suspect the first mainstream “AI-native” features won’t announce themselves as AI films at all. They’ll just look like ambitious indie features with suspiciously large worlds and suspiciously small crews.

I'm curious how others here see this playing out, especially writers, directors, and actors.

Is this a threat, a tool, or the next normal?

We, Hungarians say "Tessék!" :)

If you want the full winners list, you can read it here:

https://deadline.com/lists/golden-globes-2026-winners-list/

At the film level, Hamnet took home Best Motion Picture, Drama, while One Battle After Another dominated the Comedy or Musical side, winning Best Picture along with several other major awards. Paul Thomas Anderson continued his incredible run this season, picking up both Best Director and Best Screenplay, further cementing the film as a serious Oscar frontrunner.

Performance-wise, Jessie Buckley’s win for Hamnet and Wagner Moura’s historic Globe for The Secret Agent stood out, especially as Moura became the first Brazilian actor to take home a Golden Globe acting prize. The night also continued a strong showing for international cinema and non-English language projects, which feels increasingly important as the industry grows more global.

On the animation side, Netflix’s KPop Demon Hunters continued its momentum, winning Best Animated Feature and Best Original Song, proving once again that animated projects are commanding real awards-season attention across categories.

Television saw major wins for The Pitt, The Studio, and Netflix’s Adolescence, which swept its categories. It’s also worth noting how much overlap we’re seeing between Golden Globes, Critics Choice, and Emmys this year, a sign that consensus favorites are emerging earlier than usual.

What I love about this year’s Globes is how clearly they reflect the current moment: global storytelling, bold creative voices, animation and genre work breaking through, and platforms like Netflix, Warner Bros., and HBO Max continuing to shape the awards landscape.

Curious to hear from you all, what win surprised or thrilled you the most, and which film are you most excited to see carry this momentum into the Oscars?

Both network TV and streaming services offer distinct advantages and drawbacks. Each platform serves different purposes, and filmmakers and audiences must consider the respective pros and cons when choosing how to distribute and consume content.

1. Network TV Shows (Advantages)

a. Wider Audience Reach: Network TV is available to a large, diverse audience, including those who do not have access to the internet or streaming services.

b. Advertiser Revenue: Ad-based funding allows for consistent revenue streams without relying on subscription models.

c. Higher Visibility: Major networks offer significant promotional resources and a large platform for shows to gain visibility.

d. Regular Scheduling: Weekly airings create a predictable schedule for audiences, enhancing viewer loyalty.

e. Broader Demographics: Networks often cater to mass-market content, attracting a wide range of viewers, including families.

f. Immediate Feedback: The use of Nielsen ratings and live viewership helps determine the popularity and success of shows quickly.

g. Familiar Formats: Long-running, episodic formats allow shows to become staples in viewers' routines.

h. Built-in Fanbase: Established networks like NBC, ABC, and CBS have loyal viewers who regularly tune in.

i. High Accessibility: Available on free-to-air channels, reaching those with limited or no internet access.

j. Advertiser-Driven: Commercial breaks allow advertisers to target specific demographics, benefiting brand partnerships.

2. Network TV Shows (Disadvantages)

a. Limited Creative Freedom: Content is often constrained by network guidelines, advertisers, and general viewer sensibilities.

b. Ad Interruptions: Commercial breaks disrupt storytelling and pacing, affecting viewer experience.

c. Strict Episode Length: Shows must fit a rigid time format, limiting creative flexibility in storytelling.

d. High Pressure to Maintain Ratings: Networks are highly focused on viewership numbers, pressuring creators to conform to audience preferences.

e. Shorter Seasons: Often require 20+ episodes, which can result in filler content or stretched storylines.

f. Dependence on Sponsors: Network TV shows are heavily influenced by advertising partners, limiting artistic decisions.

g. Risk of Cancellation: Shows can be canceled after only a few episodes if ratings are low, leading to job instability.

h. Less Room for Experimentation: Due to commercial pressure, there’s limited room for unconventional or niche content.

i. No On-Demand Viewing: Shows require viewers to tune in at specific times, limiting flexibility and convenience.

j. Censorship Restrictions: TV networks are often constrained by FCC regulations, limiting certain content like profanity or mature themes.

3. Digital Streaming Service Series (Advantages)

a. Greater Creative Freedom: Streaming platforms often allow directors and creators more flexibility in content, including mature themes and unconventional formats.

b. Binge-Watching Culture: Full seasons released at once offer viewers the ability to watch at their own pace, fostering deeper engagement.

c. Global Accessibility: Streaming services are available worldwide, reaching international audiences with little to no geographical restrictions.

d. Diverse Content: Platforms like Netflix, Amazon Prime, and Hulu cater to niche markets with content for specialized interests.

e. On-Demand Availability: Shows can be watched anytime, giving viewers control over when and how they consume content.

f. Lack of Commercial Interruptions: Without commercials, shows can maintain consistent pacing and immersion.

g. Longer Seasons or Limited Series: Streaming platforms are more flexible with episode count, either offering fewer but higher-quality episodes or allowing for expansive seasons.

h. Direct Access to Viewers: Analytics provide immediate, detailed feedback on viewer preferences and behavior, enabling quick adjustments to content.

i. Higher Production Values: Many streaming services have the budgets for higher-quality productions with cinematic-style visuals and effects.

j. Innovative Storytelling: With fewer restrictions, creators can experiment with new narratives, diverse genres, and advanced special effects.

4. Digital Streaming Service Series (Disadvantages)

a. Dependency on Subscriptions: Streaming services require a paying subscriber base, making them financially vulnerable if subscriber growth slows.

b. No Mass Audience Reach: While popular globally, streaming services may not have the same mass-market audience as network TV.

c. Higher Pressure for Success: With multiple original content offerings, streaming platforms expect shows to quickly achieve high viewership numbers, which can create pressure for success.

d. Over-Saturation of Content: The sheer volume of content available can make it hard for shows to stand out and find an audience.

e. Delayed Release Model: Not all content is released at once, and some platforms follow weekly releases, which limits the immediate gratification of binge-watching.

f. Limited Revenue Models: Streaming relies on subscriptions and international distribution, which might limit monetization methods compared to ad-based revenue.

g. Uncertainty of Renewal: Like most network TV, streaming series can face cancellation after one or two seasons if viewership drops, creating uncertainty for the creators.

h. Piracy Risks: Digital content is at risk of being pirated, leading to potential revenue loss.

i. Limited Traditional Promotion: Streaming platforms often rely on word-of-mouth, influencer marketing, and limited traditional ads for promotion, lacking the high-profile promotional tools of network TV.

j. Fragmented Services: To access a full range of content, viewers may need multiple subscriptions to different platforms, which can create consumer frustration.

NEXT ARTICLE: The “Reductionism Breakdown System”

If you love digging into the how and why behind memorable filmmaking choices, this is a fantastic watch.

In this breakdown, Stranger Things creators Matt and Ross Duffer walk through a terrifying Season 5 sequence involving Karen and Holly Wheeler during a home invasion by the Demogorgon. They unpack everything from visual geography and line crossing to needle-drop decisions, stunt logistics, practical effects vs. CG, and how performance, sound, and editing work together to build sustained tension.

What really stands out to me is how intentional every choice is:

Establishing clear spatial geography before chaos hits. Choosing music based on character psychology, not just “cool” vibes. Blending old-school in-camera tricks with modern VFX. Letting sound design, or the absence of it, carry emotional weight. Even designing shots around actor safety while preserving realism. It’s also a great reminder of how collaborative directing truly is, from music supervisors and stunt teams to VFX artists and young performers rising to the moment.

Highly recommended for directors, writers, editors, cinematographers, and anyone interested in suspense storytelling that’s both technically precise and emotionally grounded.

You can watch the full breakdown here: https://www.youtube.com/watch?v=IdZWP3FPCeY

What filmmaking choice in this breakdown stood out to you most?

Hello guys, where are all my filmmaker friends from Los Angeles, let's connect.

Directing for network TV and digital streaming platforms offers distinct creative and logistical experiences for filmmakers. While both mediums aim to engage audiences, the approach to storytelling, production, and audience engagement can vary significantly.

Network TV often requires directors to adhere to tighter time constraints, structured formats, and advertiser-driven content guidelines. In contrast, digital streaming allows for more flexibility in episode length and mature themes, giving directors greater freedom to experiment with narrative pacing and visual style.

1. Audience and Demographics:

a. Network TV: Generally targets broader demographics with family-friendly or general-interest content, often focusing on programming that appeals to a wide range of viewers. Shows are often designed with commercial breaks in mind, requiring strategic scene pacing to hold viewer interest during interruptions. Content is subject to stricter censorship and guidelines to ensure suitability for all ages. Additionally, network TV prioritizes a fixed schedule, releasing episodes weekly to build anticipation and retain audience engagement.

b. Streaming Services: Allow for niche content aimed at specific audiences, such as horror, sci-fi, or true crime enthusiasts, providing more freedom to explore mature or experimental themes. Streaming platforms often release entire seasons at once, catering to the growing trend of binge-watching and allowing audiences to consume content at their own pace. There’s greater flexibility with episode lengths and structures, enabling more creative storytelling formats. Content on streaming services is generally less restricted by censorship, allowing for edgier and more diverse stories.

2. Budget Constraints:

a. Network TV: Tends to operate on smaller, more rigid budgets due to ad-based funding models, often resulting in limitations on special effects, set design, and location variety. Episodes are typically produced quickly to maintain a tight schedule, which can impact the time available for complex shots or intricate storytelling. Network TV also often follows a set number of episodes per season, leading to more filler content to meet the episode quota. The need for commercial breaks shapes the storytelling structure, with scenes often building up to cliffhangers before each break.

b. Streaming Services: Typically allow for higher or more flexible budgets, often leading to higher production values and allowing for more ambitious visual effects, locations, and cinematography. Without a need for ad breaks, episodes have the flexibility to follow a more fluid narrative structure, which can enhance pacing and storytelling depth. Seasons can vary in length, focusing only on essential storylines without filler episodes. Additionally, streaming services often attract top-tier talent with the promise of creative freedom and extended time for development and post-production.

3. Content Restrictions:

a. Network TV: Must follow FCC guidelines, limiting language, violence, and adult themes to appeal to a broad audience and avoid fines. Episodes are structured around commercial breaks, influencing storytelling pace and rhythm, with strict runtime requirements that challenge directors to fit a full story within a set timeframe. Network series often focus on family-friendly or widely appealing themes, shaping character arcs and plot choices accordingly.

b. Streaming Services: Typically less restrictive, allowing for mature themes and creative freedom, depending on the platform's policies, enabling directors to explore complex and nuanced storylines. Episodes can vary in length without the constraints of commercials, giving more flexibility to the storytelling pace and structure. Streaming platforms often encourage genre diversity and experimental formats, attracting audiences with unique tastes. The lack of FCC regulations enables a wider exploration of language, visuals, and cultural representation.

4. Creative Control:

a. Network TV: Creators and directors have less creative freedom due to network standards and advertiser influence, often leading to compromises to appeal to the broadest audience possible. This can mean adjusting scripts or visuals to meet the expectations of network executives and sponsors, impacting the director's vision. Network TV directors may face tighter deadlines, as episodes are produced to keep up with weekly air dates. The need for higher ratings often influences the choice of familiar, reliable storytelling formulas that are known to retain viewer engagement.

b. Streaming Services: Allows for greater creative autonomy, enabling directors to experiment with unique storytelling techniques and styles, often appealing to niche audiences with unconventional narratives. Streaming platforms encourage bolder, riskier choices that may not fit traditional network expectations, allowing directors more room for innovation. Episodes are typically released all at once or in small batches, reducing the pressure of week-to-week production. Streaming shows are also less dependent on viewership ratings, focusing instead on subscriber engagement, which allows for more experimental content creation.

5. Episode Length and Flexibility:

a. Network TV: Episodes have strict length requirements to fit scheduled time slots and commercials, usually necessitating precise editing to fit within 22- or 42-minute blocks. This constraint requires directors and editors to prioritize key scenes and sometimes trim down character development or subplots to fit within these confines. The result is a highly structured storytelling format, where pacing and plot points must align tightly with commercial breaks, often dictating where tension and cliffhangers are placed within an episode.

b. Streaming Services: Episode lengths are more flexible, allowing for varied storytelling paces without commercial breaks, which can greatly enhance the immersive experience. Directors have the freedom to explore character arcs and subplots in greater depth, allowing some episodes to run shorter or longer depending on narrative needs. This adaptability encourages creative pacing, enabling episodes to feel more natural and less constrained, often allowing viewers to feel more deeply connected to characters and storylines as they unfold organically.

6. Episode Count:

a. Network TV: A season can range from 20 to 24 episodes to fill an entire season, which often requires plotlines to be extended or secondary arcs to be developed to sustain viewer interest. This longer format also allows for procedural storytelling, where episodes may be more self-contained, making it easier for audiences to jump in mid-season. However, the extended episode count can lead to filler episodes or repetitive storylines to meet the high episode demand, sometimes impacting overall quality and pacing.

b. Streaming Services: Seasons are usually shorter, often between 8 to 13 episodes, focusing on quality over quantity, which enables more concentrated storytelling and a faster-moving narrative arc. This compact format allows for tighter, more deliberate pacing, with each episode carrying significant weight in progressing the plot or developing characters. Shorter seasons also reduce the need for filler content, leading to a more cohesive viewing experience that is tailored to binge-watching, keeping audiences engaged from start to finish.

7. Release Schedule:

a. Network TV: Follows a weekly release schedule, with episodes spaced out over months, building anticipation and allowing audiences to follow the story gradually. This release pattern helps create watercooler moments, encouraging weekly discussions and keeping the show in public conversation over a longer period. The format also allows networks to adjust marketing strategies or episode promos based on audience reactions as the season progresses, keeping viewers engaged.

b. Streaming Services: Often releases entire seasons at once, enabling binge-watching and requiring different pacing for viewer retention, as the story must sustain interest over several hours in a single sitting. This release strategy encourages intense viewer engagement and can lead to immediate cultural buzz as audiences watch and discuss the full season in a short time. However, it also requires robust marketing ahead of the release to generate peak interest, as the all-at-once model lacks the weekly momentum of traditional TV.

8. Story Structure:

a. Network TV: Requires cliffhangers and structured acts to hold viewers through commercial breaks, creating suspense that encourages them to return after ads. This structured pacing means that story beats often need to be heightened at specific intervals, which can sometimes limit creative flexibility. The format also relies on “mini-cliffhangers” within each episode, maintaining tension and engagement across multiple acts to retain viewership through each segment.

b. Streaming Services: Allows for continuous storytelling without interruptions, supporting more complex plots or serialized narratives that can flow more naturally. Without the need for commercial breaks, streaming episodes can have varied pacing and a more gradual build-up, often leading to richer, more nuanced storytelling. This uninterrupted format enables directors to focus on the overall narrative arc of the season, rather than structuring each episode around specific act breaks, providing a more immersive experience for viewers.

9. Viewer Analytics:

a. Network TV: Relies primarily on Nielsen ratings for feedback, which provide a broad estimate of viewership based on sample households. This system often lacks detailed insight into specific audience preferences or exact engagement levels, making it harder to tailor content precisely. Ratings are critical to network success, as high Nielsen scores can attract advertisers and secure a show’s renewal, while low ratings often lead to cancellation.

b. Streaming Services: Uses detailed viewer data and analytics, offering precise insights into how audiences engage with content, including watch time, drop-off points, and popular episodes. This data allows streaming platforms to understand specific audience preferences, enabling them to make data-driven decisions about content development and marketing. Analytics also help streaming services optimize show recommendations and refine future programming strategies, catering directly to viewer habits and interests.

10. Visual Style and Tone:

a. Network TV: More standardized in visual style to appeal to a broad audience and stay within budget limits, often using familiar lighting and shot techniques. The visuals are designed to be accessible on a variety of screen types, including older televisions, ensuring that content looks consistent across different devices. Directors typically work within a set framework to maintain continuity with other network shows, reinforcing the network’s brand and visual identity.

b. Streaming Services: Often more cinematic in tone, with higher flexibility for distinctive visual styles and unconventional narratives, allowing directors to experiment with bold visuals and unique storytelling. The production quality is tailored for high-definition streaming, enhancing the experience on larger screens and mobile devices alike. This freedom enables creators to deliver visually distinct shows that set the platform apart, catering to audiences seeking more stylistic and immersive content.

NEXT ARTICLE: Advantages and Disadvantages Between Network TV Shows and Digital Streaming Service Series

https://www.linkedin.com/posts/mikeatimm_35-must-see-movies-at-the-sunda...

https://www.worldofreel.com/blog/2024/12/6/best-movies-made-for-under-1m-zyn59