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Inside-Out, Outside-In

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Inside-Out, Outside-In

Tag Archives: independent filmmaking

Top Five Smart and Stupid Things I did Producing my Short Film

17 Tuesday Apr 2012

Posted by hunterlh in Development

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alec mapa, atlanta film festival, camille carida, elizabeth gordon, film festivals, filmmaking, how to make a better short film, hunter lee hughes, hyphenates, independent filmmaking, john matysiak, pitfalls of producing a short film, producing a short film, top five smart and stupid things i did producing my short film, winner takes all

As I continue to develop my feature film script and prepare for the craziness of development/pre-production/production etc., it’s sometimes helpful to look back and remember the lessons of the past.  After all, that’s why I learned them, right? And perhaps no other project taught me more than ‘Winner Takes All,’ for which I juggled duties as writer, producer and lead actor (power to the hyphenates!!!).

‘Winner Takes All‘ was shot in December, 2009, took a year and a half to edit (eventually clocking in at 17 minutes) and premiered at the Atlanta Film Festival in April, 2011.  It went on to gain acceptance into ten international film festivals and secured distribution through Guest House Films’ dark-themed collection called, ‘Black Briefs.’  Ever the perfectionist, at one point, I wanted the film to get into Sundance, 50+ film festivals, win an Oscar, take over the world and make me a mega filmmaker/actor hyphenate.  However, once reality set in and my ego faced the stark truth that there are thousands of shorts made every year (and hundreds and hundreds of really good ones….), I became satisfied with what we accomplished. But more than the outer accomplishments were the valuable lessons learned about what we did both right and wrong.  I’ll start with the stupid side.

Five Stupid Things I Did Producing ‘Winner Takes All’

1.  Underestimating the importance of the ‘smaller’ departments.  One horrendous day on the set, we went into overtime.  This is pretty much death for an indie short because we had to shell out extra money for our cast and crew and order a second meal. Although we had to do it, the overtime was completely avoidable….had we only paid more attention to two departments – costumes and make-up.  Why did we go into overtime? One of our lead actors could not find the suede pants established as so critical for his character and we did not have anyone from the costume department on hand to organize the clothes and make sure the actors had all their outfits as needed.  We figured, ‘Hey we only have four actors and each actor only has one outfit.  We don’t need a wardrobe department on set.’  The costume (which was eventually found tucked away in a second bathroom no one knew was there) took three hours to find. By that time, the camera crew had to change the lighting set-up they had planned, re-light and flip around to get another character’s coverage. (Another lesson – if you think actors will be responsible for their own costumes, you are wrong). Making matters worse, this was also the day our make-up artist arrived two-and-a-half hours late.  We didn’t have a rolodex of other make-up artists available and because she was the ONLY one in her department, we simply had to wait.  We spent SO much time organizing the camera crew, the equipment, the insurance, the permit, the meals that we neglected to remember just how important these ‘small’ departments are on a film set.  And boy did it cost us overtime dollars.  On a film set, there are no ‘small’ departments.

2.  Not investing in a cash box.  We ended up having more than $300 stolen from a rehearsal and later had to work double-time to track down all the receipts from people in all different departments, from craft services to production design.  I truly believe the theft and the receipt hassle would’ve been solved had we invested from the beginning in a small cash box with a sign-in/sign-out sheet for all the petty cash.  When you give people cash, they tend to just think of it as money in their pocket.  When they are forced to sign-out for the cash they receive and know they’ll have to sign-in once more with receipts to accompany the change, they take it seriously.  A fifteen dollar cash box would’ve saved time and money on our production.

3.  Applying to film festivals with a rough cut.  Sometimes you are told that film festivals are used to rough cuts, that they can see past any audio/color correction problems. Maybe if you’re Woody Allen or Terrence Malick.  If you’re newer to the festival circuit, I would never, ever apply with any sort of rough cut.  Why? With ‘Winner Takes All,’ we applied to a big festival that was sort of “shooting for the stars” with a rough cut and didn’t get in.  Later on, once we had a finished version, we applied to another festival that I thought was the PERFECT fit for our film.  Guess what?  We still didn’t get in. Of course, there could be a million reasons why but I couldn’t help but notice that the main programmer of the “shooting for the stars” festival was the SAME PERSON that later declined our finished version for the “Perfect Fit” festival.  I truly believe the person may’ve thought they saw the film once in a rough cut form and didn’t need to see it again, robbing us of a chance to make a great first impression with the finished piece. Remember, these festival programmers don’t just work for one festival.  They work for several and once they see your film, they’ve seen it.  So make sure they don’t first see it as a rough cut.

4.  Not Having a Plan to Manage Stress.  As a filmmaking hyphenate, you will face an extraordinary amount of stress and unexpected stress should be factored into a plan to take care of yourself emotionally, physically and spiritually during the process.  Three days before production started, my wallet was stolen, which included the company credit card to which all our equipment, insurance and expenses were charged. My identification was gone. Everything. On top of learning lines, organizing equipment and dealing with all sorts of new people and personalities, this sent me over the top with stress and some of it was avoidable. If I could do it again, I would pre-plan a massage just before production. By the time I shot my webseries, I knew that I would take the first twenty minutes of every lunch break to meditate and take quiet time no matter how many of the cast and crew members wanted to talk.  Have some fun distractions like an iPhone game or app that helps you unwind and make a plan to play it, even if you don’t feel like it in the moment.  Or if you have a romantic partner, let them know you might need some mindless nookie one night of the production just to have some stress release.  And let any romantic interest know up front that for the length of the shoot, you won’t be available to emotionally caretake or solve anything sticky in your relationship.  It’s just too much to ask of yourself.  In indie filmmaking, stress always takes a toll and it’s part of the beast you must face, but manageable stress feels a lot different to the body than unmanageable stress.

5.  Not understanding the difference between an editor and a post-production supervisor. Our first editor was a close friend of mine who had won an Emmy for her editing on a reality television show. She was highly qualified to edit the film based not only on her television work, but on her narrative work in the past.  However, she was not used to dealing with workflow issues.  In her office, the footage just appeared in her editing suite and she went to work and did a fantastic job. We were basically expecting her to serve not only as an editor, but also as a post-production supervisor.  This was especially unreasonable since we were dealing with Red footage, which at that time was considered a super-beast to deal with in Post. She eventually left the project because of other family and career obligations, but we got the message and hired a post-production supervisor (who ironically enough, ended up being our editor). But still, we should’ve had a post-production supervisor from day one to help establish the post workflow, especially knowing the difficulty of dealing with Red footage. It would have saved us heartache and made for a happier editor.  So be aware of who your editor is and if you’re going to expect them to function as a post-production supervisor, that should be clear with them and – unless they’re you’re bestie or doing a huge favor – they should be compensated and credited extra for performing more than one function.

Okay, so there are the stupid things I did. Here are the smart ones:

1. Hiring a director that shared my values about acting and the creative process. I desperately wanted to learn how to direct, but I intuitively knew that writing, producing and acting was more than enough to handle on my first outing of this scale. We had a number of choices in terms of who to choose as director, but we went with Camille Carida, a smart decision. She shared the most important values you can share as creative collaborators – a similar emphasis on what is important about the lives of human beings and how they are to be explored in an artistic venture.

2. Hiring with balance in terms of other key collaborators.  As a producer, I wanted Camille to feel comfortable with her d.p., but I also wanted to highlight choices that balanced out her strengths and weaknesses.  She was strong in creating performances and understanding and executing the theatricality of the piece.  The eventual d.p. John Matysiak has an uber-cool, perfectionist approach to the visuals which balanced out Camille being newer to shotmaking.  We tried to echo this balance throughout our hiring process.  We are excited to take chances with newer people in some departments, but would not take newer people for EVERY department.

3. Investing in High Production Value.  I saw ‘Winner Takes All’ as my own version of film school and spent quite a bit of money doing it.  Because there are so many shorts being produced and so many shorts competing for slots in festivals, I mitigated my risk in terms of inexperience with spending money for high production value.  I don’t recommend this strategy for every new producer.  And in truth, I had produced two uber-low-budget shorts that I didn’t feel comfortable submitting to festivals. But I don’t regret spending the money on high production value for ‘Winner Takes All.’  It helped give us an edge in competing for those slots – our high production value is still noted by almost everyone who sees the film. And it helps the film stand out as an enduring calling card. Since I learned so much on ‘Winner Takes All,’ I didn’t feel the need to invest in high production value as much the next time around but for this first big effort, it was crucial.

4. Selecting a film with one location. Our film took place entirely in a theater, which gave some much needed stability to our shoot. My producing partner Elizabeth Gordon and I considered producing a different short film, but we decided that the film with only one location would be a good hedge against our relative inexperience as film producers.  Turns out, we were right.  Between the wallet being stolen and all the other problems that came up, we desperately needed something steady and secure. The fact that everyone could show up to the same location, park in the same lot and keep the equipment in the same place was a very needed boost of stability. Plus, we got a number of different looks within the theatre — on stage, in the audience, in the light booth – so we still managed to do pretty well in terms of visual variety.

5. Going for it with Alec Mapa.  We really wanted someone amazing to play Simon. After a bit of a process bouncing ideas with Camille, Elizabeth and our casting director David S. Zimmerman, we felt strongly that Alec Mapa would be an amazing choice for the piece (and he was). In the LGBT world, Alec is definitely a celebrity and not someone that I knew personally. However, David did have friends from his time living in San Francisco that knew Alec. David arranged for them to approach Alec, who gave the go-ahead for us to call his agent. Then, we simply offered him the part. I wasn’t even sure of the protocol for doing something like that, but just got through it, with a little help. It worked. Within a day, Alec’s agent requested the script. Within two days, we made a deal and he came onboard the project. Alec’s terrific performance brought a lot of value to our film to the degree that other filmmakers approached me and asked me how we landed him. The answer was really surprisingly simple – we asked.

Okay, so those were some smart and stupid things I did producing ‘Winner Takes All.’  In the next week, I’ll take you even further back to show you some stupid/smart things I learned producing two plays and also investigate some stupid/smart things I did directing my first project.

—

Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

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Choreography, Part 2: Ashley Osler pinch hits on movement…and so much more.

11 Wednesday Apr 2012

Posted by hunterlh in Interviews

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Ashley Osler, auditioning, choreographers, choreography, choreography for film, Christos Vass, hunter lee hughes, independent film, independent filmmaking, inside-out-outside-in, Jamie Benson, movement for actors, ojai, Script Development

Once Jamie Benson left for NYC and Nameless Actor dropped out, I was temporarily without a choreographer AND a lead actor to workshop the climatic scene from ‘Inside-Out, Outside-In.’ Things quickly changed when charming Greek actor Christos Vass stepped in to play the lead role and choreographer/coach Ashley Osler answered her phone and promptly said, “Of course I’ll help you with that!” Ashley, an alum of Larry Moss and frequent previous collaborator (she did the choreography for The Sermons of John Bradley and helped me develop a striptease-type movement for Fate of the Monarchs), is an unheralded gem in terms of understanding how the expression of the body relates to the needs, desires and psychology of a character. We chatted a bit about what it’s like to choreograph movement and help in the development of a project from the ground up.

Hunter: By the time we linked up on this project, Jamie (our original choreographer) had moved to NYC and the first actor had dropped out of the workshopping of the climatic scene, leaving us in a position to bring on a new actor without the benefit of a choreographer.  So that’s where you came in!  After Ivana put Christos and I together on the scene, I originally brought you in to consult on the movement that we were doing, but it sort of organically grew into more than that.  After that first rehearsal, what did you feel about the piece and its potential?  And how did that relate to the movement aspect of things?

Ashley: I got so excited about the scene and the characters’ needs. It was so compelling to see it on its feet. I was trying to understand what you had written by exploring some different ways of moving to express the subtext. I left feeling that there was more to find but that a few layers had been peeled by infusing the movement with deeper script analysis. Because the movement/physicality can be so telling….letting the audience know maybe more than the characters do at that point, I felt there was potential for a very dynamic scene.

As we spoke about the scene in the days following I realized that the physical connection had to be so intense…electric…..and that was one of he conflicts both characters. Then on top of it they have to rehearse a hot dance number while trying to be nonchalant because they both needed something so badly. Good scene!!!

Hunter: Sometimes I feel a little nuts workshopping individual scenes from a screenplay – it’s not necessarily the traditional approach for sure.  Do you think there’s value in these type of workshops?  What can be gained from workshopping scenes?  What, if anything, did you think we learned during this experience?

Ashley: I didn’t get to see the scene workshopped yet but wish I could have! All together I think workshoppig is very important for perspective….getting it into your body  with the juice of an audience is an important part of the process of understanding what you have written. Even though it’s on the page already it’s still writing itself in this part of the process.

Hunter: The story deals, in part, with characters facing tough decisions about how to navigate the “Hollywood” and “independent film” environments here in Los Angeles.  I love the story you told about not feeling right about going to commercial auditions, if you feel like telling that one! 🙂 But seriously, have you seen any friends lose themselves in a struggle to manifest their creative work here?  How do you stay true to yourself as an artist while pursuing filmmaking or acting?

Ashley: Oh my goodness I’m having a brain fart…probably an audition where it was like a conceptual art exhibit – one side of the room all blonds and the other all brunette clearly divided and I was lost in the sea of blonds and said, “Yuck!” I just figured I’d rather take the time it took to run to those auditions to read plays or prepare a scene for class….I was lucky to be in a great scene study class back then and I knew that teacher wouldn’t be there forever so that’s were I put my energy. You can die with some money in the bank from an Arby’s commercial, which is selling poison to people…or you can feed your soul with literature and take it with you……easier to audition in NYC. All the driving in LA is monstrous and made it even more absurd. Commercials – Humf!

Anyway auditions can eat you alive unless you make them auditions for life experience. It’s not about getting chosen and you can’t wait to get chosen. When I first started going out I was not prepared at all for the language of the casting process – it was so foreign to the creative process of acting. I learned we can’t audition without being crystal clear on script analysis so the choices are supported and powerful and you can feel your teeth in it.

Stella Adler said something like you have to have the soul of a rose and the hide of an rhinoceros to be in the buisness…well I didn’t know how tough the skin of a rhino was and I just went out with my fragrant rose and got a big surprise.

Hunter: Another big part of the story is reincarnation and karma.  Do you believe in reincarnation yourself?  One of my struggles is how to delve into a subject like reincarnation without staying on the surface or relying on cliches.  Any advice?

Ashley: Yes I do. I have done some past life regression sessions which were amazing. Also had some interesting experiences living on Kauai which took me to a past life there. Karma is created in every thought we have. Most think that it’s only our actions. We are more powerful than we know. Each and every thought is creating Karma. It is great you are writing on this subject. We are very immature in the West about this. I believe until we can teach death as beautiful part of life there will be no peace. I say keep experinecing and studying….read more plays and stories about death to feel the emotions…..check out, “Tibetan Book of the Dead.” (Author’s note:  Actually I did – it’s on my reading list here).

Hunter:  So for our readers out there who don’t know Christos or myself, how would you describe us as actors or as people?  Did you feel there was an interesting dynamic there?  Why or why not?

Ashley: Well, you both are so smart and willing and courageous. I would love to spend hours with you two playing. I think you are fine actors!!!  Yes, I do think there is a very interesting dynamic……What translates from you both being open and curious and wanting to know could be naturally adopted into your characters. Watching you two as actors was just as interesting as watching the characters.

Hunter: You are big on textual analysis and allowing that to impact the movement.  Can you tell me a little about your process here?

Ashley:  Oops didn’t know you were going to ask this…well I kind of hit that above. One thing I would add is that for you as the writer/actor it’s a trip because you have to live this parallel universe sort of existence…writing it…thinking you know what it is and then growing in it as the actor writer and watching it change and grow…..what a special experience.

Hunter:  Finally, you’ve gotten out of town recently (I have this effect on choreographers….) and moved to Ojai.  How’s it going up there and what’s it like?

Ashley: That is so funny. Well at least the first guy is in NYC waiting to embarce you and show you around when you get there!! Not much happening in Ojai as a career move for you as an actor. As a writer, it’s just what I wanted. I really had a hard time focusing in the city. I am sensitive to all that energy. I can write in NYC but not so much in LA. Up here the land feels supportive and we’re in a quiet part of town  Private so I can go into my imagination and feel I won’t be disturbed by black hawk hellicopters or the children thay have as slaves nowadays ringing doorbells with magazie subsrcitions etc etc bless their little souls…God and those lousy leaf-blowers…Don’t get me started…needless to say I think Ojai is going to be “berry berry good for me,” as Garrett Morse used to say on SNL.

To contact choreographer and acting coach Ashley Osler, you can reach her at aosler7@gmail.com.

—

Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

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Choreography, Part 1: Jamie Benson on bringing the dance to the movies

09 Monday Apr 2012

Posted by hunterlh in Interviews

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artistic self-indulgence, choreography, choreography in movies, dancing in 3d, dumbass filmmakers!, gay film, gay filmmaking, highways performance space, hollywood hypocrisy, homophobia, homophobia in filmmaking, hunter lee hughes, independent filmmaking, inside-out-outside-in, Jamie Benson, Jamie Jeppe Benson, mass transit, microbudget filmmaking, sermons of john bradley, straight guys playing gay

I’ve known Jamie for about four years.  Formerly the membership director of Highways Performance Space, Jamie helped support our run of ‘The Sermons of John Bradley‘ at the space.  After our show – which included a five-minute segment of choreography with no dialogue – Jamie commented that he liked the intensity and even brutality of the movement between the characters.  I felt so grateful that someone noticed the quality we worked so hard to infuse into the piece.  After that, I began supporting Jamie’s work in independent theatre when I could and noticed that his original choreography in “Mass Transit” focused more on the unique humanity of each of his dancers rather than a perfectionist aesthetic ideal.  And yet, when required, Jamie could choreograph intricately beautiful moments.  This was precisely the quality that made me feel he might be the right man to bring the moves to “Inside-Out, Outside-In.”  So I brought him on to choreograph the initial workshop performance of the climatic scene of ‘Inside-Out, Outside-In.’  And he did an amazing job. Now, I’m just suffering a bit of Jamie-withdrawl since he’s moved to NYC to pursue his fortunes there, but check out our talk about dance and the movies.

Hunter: OK so not only is “Inside-Out, Outside-In” my first feature as a writer-director, it’s the first time I’m incorporating movement/dance choreography into a filmed piece.  Any advice for the newbie?

Jamie: Make sure that you really allow the movement some time in full frame. It seems fast cuts are real popular in the flashy world of feature filmmaking and sometimes the dancing is lost. That and after seeing the Wim Wenders film “Pina,”  it’s only a matter of time before we all should be presenting dance in 3D. Just sayin’.

Hunter:  Well not sure our microbudget will stretch to 3D just yet.  You mentioned that you love seeing people talk and dance on screen, that it’s satisfying to see people work something out through movement.  Tell me about that.  What are some of your favorite movies with choreography?

Jamie: Dance is designed to reveal simple truths. But if you’re able to add words and a linear scenario or context, you have so much more texture to experience as a viewer. If a couple is fighting while dancing a romantic waltz, there is so much more wit and intrigue to the juxtaposition, for example.

Hunter:  I like that.  What drew you to help out with ‘Inside-Out, Outside-In?’ Was there anything in the story there for you or did you just basically get roped in because we’re friends?

Jamie: Ha! A little of both – life is layered or something. I was curious as to whether or not I could deal with the challenge of a limited time-frame AND inform the meaning of the script within the script through simple gestures and movements. A bit of a puzzler but that was part of the fun.

Hunter: We had an issue where a straight actor became uncomfortable with dance with another man while workshopping this piece.  It brought up a lot of feelings of anger and inadequacy in me because I felt I tried so hard to make him comfortable.  Is this a common problem in the dance world?  What is your suggestion for working with actors in the future on this?  On the one hand, the character himself is straight and unsure about his feelings towards this other male so a little discomfort is interesting, but when does fear of intimacy or even homophobia damage a piece or prevent its full realization?  Your thoughts?

Jamie: Most dancers, whether straight or not, are a.) around a lot of gay people because, let’s face it, we’re talking about dance. Cliches, just like a good joke, have some truth to them. b.) Dancers are notoriously underpaid and will usually do just about anything to continue “working” whether that means sidling up to another guy or not. I’ve had to grab a straight guy’s ass in performances before. Honestly I think it was a great chance for the guy to enjoy the flirtation without being totally accountable for it. A sort of, “well that’s what the director wanted” sort of thing. I’ve helped produce a gay-centric play before and the straight guys we’re totally cool about it. There should be some awareness going into it for them and if there isn’t, how can you really combat an actor’s denial during the courting process? They probably want to do what they can to get the part at that point. I wouldn’t worry too much. It’s given you a fire to push forward with the work and material to blog about the movie-making process. Hell, there’s a few press releases there. That’s valuable. In our quick digestion of drama, turmoil can be an asset. Its part of the story and intrigue of the film you’re making.

Hunter: The piece has an element of life-imitating-art-imitating-life.  When you choreograph, how do you draw from your own experiences while still staying true to the situation at hand for the characters?  In other words, when does your personal expression need to be channeled into something more-or-less objective versus when it is okay to allow your personal story/demons to be expressed in a very raw, direct way?

Jamie: Making whatever story arc I’m presenting complete is of top priority. This is not unlike making a film. Sometimes the best lines or scenes must be sacrificed for the greater good of the storytelling. I fear that being an “artist” has an inherent “self-indulgent” quality to it anyway so I have no intention of running away with the fact. I have to constantly ask myself if each moment serves the whole of the story. “Why would she do that here?” or “Who is this character like and what is my experience with that type of person?” “What do I believe is the truth of the scenario I’m creating?” The scenarios I’m compelled to create are somehow personally satisfying for me to present. It’s satisfying to include personal observations I have into the work but it all has to inform the story somehow. I hate going to shows where there is no sense of editing. I’m sensitive to that.

Hunter: You and I have talked a bit about valuing the exploration of the humanity of – for lack of a better word – “the little guy.”  I’m thinking of your piece “Mass Transit” and also the webseries “Dumbass Filmmakers!” on which we collaborated.  Tell me about “the little guy” in your own work and how it might apply to ‘I-O, O-I.’

Jamie:  I am the little guy – at this juncture – so that P.O.V. surfaces in the work at times. I also find a certain innate hypocrisy in the entertainment world and strive to demystify things because of it. Ballerinas are flawless porcelain dolls, or rappers are so so cool or models so sexy yet at the end of the day, they still have body odor, cry themselves to sleep sometimes, or get insecure. That is humanity and our culture seems to deny or exaggerate/exploit it. My work is often aimed at the reveal of these truths under the illusion of the day-to-day performance we are all a part of. Usually, it’s done in a humorous way to help from being preachy.

Hunter: Now, you moved to NYC!  And so…..we’ve had to pick up the pieces without you.  😦  How’s it going out there?

Jamie: Hectic! But good! Internship in the marketing department of the Paul Taylor Dance Company, performance of my satirical ballet “Bowel Movement” in a couple of weeks, just won a Martha Graham video contest and more to come. I’m really enjoying my time here. We shall see. Thanks for your time here!

To learn more about Jamie and his dancing and choreography, please visit www.jamiebenson.com. His latest piece – “Bowel Movement” – runs April 12th and 13th at the Triskelion Arts Aldous Theater in Brooklyn.  Take a look at the trailer here.

—

Hunter Lee Hughes is a filmmaker living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

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