Careers in Film Production Ilms Are More Than Entertainment

Total Page:16

File Type:pdf, Size:1020Kb

Careers in Film Production Ilms Are More Than Entertainment From script to screen: Careers in film production ilms are more than entertainment. They inspire, inform, and may even F become part of our culture. And for many people, films also offer jobs and a career path. The glamour of Hollywood and the cre- ativity of filmmaking attract droves of people looking to work on the next big blockbuster— and for good reason. According to the Motion Picture Association of America, box office revenues in the United States and Canada reached $10.8 billion in 2012, a 6-percent increase from 2011. And thanks to advances in technology, it’s never been easier, faster, or more affordable for people to make their own films. But working in this industry is not always as glamorous as it seems. For example, find- ing steady work is difficult and wages are auditioning the actors, and planning how each generally low. A passion for film helps work- scene will be shot. ers overcome these and other challenges. “The Occupations involved in preproduction work is hard,” says supervising sound editor include screenwriters, producers, and direc- Sara Royster Kevin Hill, “so if you love it, you’ll be more tors. and Dennis likely to stick through the tough times.” Vilorio This article describes many of the occupa- Screenwriters tions in film production. The first three sec- Screenwriters write or adapt the film’s story tions describe the typical work duties of and into a script. The story may exist in another training required for key occupations in each form, such as a novel or play, or may be based phase. Other sections offer pros and cons of on actual events. Other times, screenwriters working in the film industry, jobseeking tips write the script from their own ideas. for starting a film career, and resources for For an adaptation, screenwriters must additional information. first obtain the legal rights to use the mate- Sara Royster and A graphic on page 18 follows the lifecycle rial and then rewrite this material to suit their Dennis Vilorio of a film. It shows the work performed during purposes. They may keep much of the source are economists in each phase of the filmmaking process: prepro- material or make big changes and insert some the Office of Oc- duction, production, and postproduction. of their own ideas. For scripts based on actual cupational Statis- Although the article focuses mainly on events, screenwriters research the events and tics and Employ- feature film production, the information gen- then write the script based on the research. ment Projections, erally applies to other types of video produc- For an original story, screenwriters brainstorm BLS. Sara can tions, such as TV shows, music videos, and ideas before beginning to write. They may other kinds of film. have a colleague edit the script and make sug- be reached at gestions. (202) 691-5645 When the script is done, screenwriters or royster.sara@ Occupations in find a producer willing to fund the project. bls.gov. Dennis They work with the producer and director dur- can be reached at preproduction ing preproduction to discuss, edit, and develop (202) 691-5711 or Preproduction is the initial phase of a film’s the script. vilorio.dennis@ creation and can last months or even years. bls.gov. This work includes developing the script, (Continued on page 19) www.bls.gov/ooq • Summer 2013 17 Lifecycle of a film Filmmaking typically involves three phases: prepro- minimal involvement in one phase and do most duction, production, and postproduction. In prepro- of their work in another. Filmworkers’ tasks are duction, preparations are made for recording the described in the article but are not included in the film’s footage. During production, the film is shot on graphic. set with the cast and crew. And in postproduction, the This graphic follows the lifecycle of a film from footage is edited and refined to complete the film. script idea to final approval. Every major step is Different filmworkers have varying degrees of outlined for each of the phases. Although the com- involvement in each phase. Some workers, such as plete lifecycle can last a few months to a few years, producers and directors, are involved throughout the the steps shown in production repeat daily during that lifecycle of the film. Others, such as visual effects phase. In addition, some steps happen simultaneously artists who work with completed footage, may have within each phase. Preproduction Production Postproduction Script written Set prepared Footage edited Electrical, lighting, and Financing secured Visual effects added sound set up Actors’ makeup applied Cast and crew hired Sound effects added and hair styled Locations scouted Camera angles selected Musical score created and selected Sets and props built Scenes rehearsed Audio tracks mixed Wardrobe designed Audio track combined Video and audio recorded and made with footage Production schedule Film approved created 18 Occupational Outlook Quarterly • Summer 2013 (Continued from page 17) Producers’ financial Skills and training. Writing down ideas responsibilities include and transforming them into scripts is one of making sure a film stays the easiest ways to begin screenwriting. “The on budget. great thing about screenwriting is that it’s easy to get started,” says screenwriting teacher Matt McNevin. “All you need is a pen and paper.” That doesn’t mean screenwriting itself is easy. “Learning to write a screenplay is like learning a new language,” says McNevin. Because screenwriting is its own style of writing, taking a screenwriting class is often useful. But a single class is often not enough to learn all the skills necessary to turn ideas into scripts, so many screenwriters have a bach- elor’s degree. A master’s degree in film or a related field also may be beneficial. Producers and directors Producers and directors make the business and creative decisions for a film. Usually, their hiring the director, creating a budget, and responsibilities remain largely separate. But approving changes made to the script, budget, occasionally, their work overlaps—and one or filming schedule. person may do the job tasks of both occupa- Producers may hire other workers to help tions. with some of these tasks. For example, line Producers. Producers are a film’s manag- producers disburse the money and keep the ers, beginning with securing the financing in film on budget. preproduction to approving the completed film Directors. The director develops and in postproduction. “You shepherd the project implements the artistic vision for the film. from script to screen,” says producer-director In preproduction, the director helps Michael Merino. “You are responsible for audition and choose the cast and works with everybody and everything.” production designers to create appropriate Producers’ financial responsibilities sets and wardrobe. He or she also collaborates include finding the money to fund a film, with the producer to write the production making sure the film stays on budget, and schedule. being accountable for the film’s financial suc- When a film is ready to begin production, cess. In preproduction, producers take a script the director oversees the shooting of each that they are interested in making into a film scene. To ensure that each take is captured and meet with potential investors to ask for properly, the director works closely with the their financial support. If someone agrees to cinematographer. The director also guides invest money in the film, the producer and the the actors to help them better portray their investor sign a contract so that work can begin characters. on the project. After shooting is complete, the postpro- From preproduction through postproduc- duction workers, under the director’s guid- tion, producers are responsible for the overall ance, design the music, sound, and visual supervision of a film. Their duties include effects. www.bls.gov/ooq • Summer 2013 19 Skills and training. Producers and direc- They prepare the cast, crew, and set for shoot- tors need to be organized and be comfortable ing each day. with multitasking. Creativity, leadership, and Assistant directors are liaisons between communication skills are also important. And the director and the cast and crew. Before money management skills are useful to help shooting begins each day, assistant direc- keep a film within budget. tors prepare the “call sheets.” Call sheets are Producers and directors usually have a detailed schedules of what scenes are being bachelor’s degree. They can major in nearly filmed each day, which actors and props are in any field, but popular choices include commu- each scene, and what the actors’ makeup and nications, business, and fine arts. wardrobe needs are. Assistant directors also Producers and directors often have years announce the beginning and end of shooting of work experience in a related occupation, for each take, and they report any problems such as actor or cinematographer. Because of that arise during filming to the director. the nature of their work, they need knowledge Production assistants perform miscella- of the film production process. “You have to neous tasks for the assistant directors, includ- understand every aspect of film,” says Merino. ing running errands or bringing actors and Other producers and directors have experience props to the set. working in business or management. Skills and training. Assistant directors and production assistants must be organized and should communicate well to keep the film Occupations in production set running smoothly. They also need to be Production is the filmmaking phase that resourceful to do a diverse assortment of tasks includes shooting of the footage. It usually as needed on the set. Leadership skills are lasts about 1 month for smaller films and up useful for assistant directors because they are to a few months for larger films. This work in charge of most of the other workers on set.
Recommended publications
  • Viewing Film from a Communication Perspective
    Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool.
    [Show full text]
  • SAP Analytics Cloud, Analytics Designer
    SAP Analytics Cloud, analytics designer Developer Handbook Document Version: 3.0 - 2019-11-11 Table of Contents 1 Table of Contents Table of Contents .................................................................................................................... 1 Figures..................................................................................................................................... 6 Preface..................................................................................................................................... 8 1 About Analytics Designer ........................................................................................... 9 1.1 What is an analytic application? ..................................................................................... 9 1.2 What is Analytics Designer? .......................................................................................... 9 1.3 What can you do with analytic applications that you can't do with stories? ..................... 9 1.4 How are stories and analytic applications related to each other? .................................... 9 1.5 Why do we need both stories and analytic applications? .............................................. 10 1.6 What is the typical workflow in creating an analytic application? ................................... 10 1.7 What are typical analytic applications? ........................................................................ 11 1.8 How does scripting work in analytic applications? .......................................................
    [Show full text]
  • Network 2020: the 4G Broadcasting Opportunity
    Network 2020: The 4G Broadcasting Opportunity About the GSMA Network 2020 The GSMA represents the interests of mobile operators The GSMA’s Network 2020 Programme is designed to help worldwide, uniting nearly 800 operators with almost 300 operators and the wider mobile industry to deliver all-IP companies in the broader mobile ecosystem, including handset networks so that everyone benefits regardless of where their and device makers, software companies, equipment providers starting point might be on the journey. and internet companies, as well as organisations in adjacent industry sectors. The GSMA also produces industry-leading The programme has three key work-streams focused on: The events such as Mobile World Congress, Mobile World Congress development and deployment of IP services, The evolution of the Shanghai, Mobile World Congress Americas and the Mobile 360 4G networks in widespread use today The 5G Journey, developing Series of conferences. the next generation of mobile technologies and service. For more information, please visit the GSMA corporate website For more information, please visit the Network 2020 website at www.gsma.com. Follow the GSMA on Twitter: @GSMA. at: www.gsma.com/network2020 Follow the Network 2020 on Twitter: #Network2020. With thanks to contributors: DISH Network Corporation EE Limited Ericsson Gemalto NV Huawei Technologies Co Ltd KDDI Corporation KT Corporation NEC Corporation Nokia Orange Qualcomm Incorporated SK Telecom Co., Ltd. Telecom Italia SpA TeliaSonera Finland Oyj Telstra Corporation Limited United
    [Show full text]
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • Success in the Film Industry
    1 Abstract This paper attempted to answer the research question, “What determines a film’s success at the domestic box office?” The authors used an OLS regression model on data set of 497 films from the randomly selected years 2005, 2006, 2007, 2009, and 2011, taking the top 100 films from each year. Domestic box-office receipts served as the dependent variable, with MPAA ratings, critical reviews, source material, release date, and number of screens acting as independent variables in the final regression. Results showed that source material, critical reviews, number of screens, release date, and some genres were statistically significant and positively contributed to a film’s domestic revenue. Introduction Each year in the United States, hundreds of films are released to domestic audiences in the hope that they will become the next “blockbuster.” The modern film industry, a business of nearly 10 billion dollars per year, is a cutthroat business (Box Office Mojo). According to industry statistics, six or seven of every ten films are unprofitable, making the business risky at best (Brewer, 2006). Given this inherent risk, how do film studios decide which films to place their bets on? Are there common factors, such as critical reviews, MPAA rating, or production budget, which explain one film’s monetary success relative to another? This question forms the basis of this research project. To answer it, we estimated an Ordinary Least Squares regression that attempted to explain the monetary success of the top films in five years out of the past decade. This regression expanded our original dataset, which used 100 randomly selected films from 2004.
    [Show full text]
  • List of Sunlight Media Collective Members & Board Sunlight Media
    List of Sunlight Media Collective Members & Board Sunlight Media Collective Core Leadership Bios • Dawn Neptune Adams (Penobscot Tribal Member, Racial Justice Consultant to the Peace + Justice Center of Eastern Maine, Wabanaki liaison to Maine Green Independent Party Steering Committee + environmental & Indigenous rights activist). Dawn is a Sunlight Media Collective content advisor, journalist, public speaker, narrator, production assistant, grant writer + event organizer. • Maria Girouard (Penobscot Tribal Member, Historian focused on Maine Indian Land Claims Settlement Act, Coordinator of Wabanaki Health + Wellness at Maine- Wabanaki REACH + environmental & Indigenous rights activist). Maria is a Sunlight Media Collective co-founder, film director, writer, content advisor, public speaker + event organizer. • Meredith DeFrancesco (Radio Journalist of RadioActive on WERU, environmental & Indigenous rights activist). Meredith is a Sunlight Media Collective co- founder, film producer, film director, journalist, organizational & financial management person + event organizer. • Sherri Mitchell (Penobscot Tribal Member, lawyer, environmental & Indigenous rights activist, author, and Director of Land Peace Foundation). Sherri is a Sunlight Media Collective content advisor, writer, grant writer, public speaker + event organizer. • Josh Woodbury (Penobscot Tribal Member, Tribal IT Department and Cultural & Historic Preservation Department, + Filmmaker). Josh is a Sunlight Media Collective cinematographer, film editor, web designer + content
    [Show full text]
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
    [Show full text]
  • List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
    List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
    [Show full text]
  • Location Listing by Category
    Phoenix Film Office - PRODUCTION LISTINGS Camera Operators Name/Company Phone-1Phone-2 Email/WebSite Service Description Elliott, Brendan 480-215-6471 [email protected] Worked on commercials, indie films, and international marketing videos as camera operator, director of photography, grip, and editor. Shoot on Panasonic HPX-500, worked on multiple grip trucks and edit with Final Cut Pro, also using Apple Motion to create motion graphics. Cook, Cary 602-494-2446 602-381-1017 [email protected] Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 [email protected] Network quality video production company with experienced ENG & EFP m camera crews specializing in TV news, sports, & corporate video. KU/HD/C- Band satellite trucks & interview studio available for uplink needs. Cheryl Goodyear www.crewwestinc.com Michael Barcless Kucharo, Michael J. 602-253-4888 602-284-8332 [email protected] Director/producer/cameraman. Renfrow, Lawrence 480-985-6900 602-618-2118 Camera operator, gaffer & key grip. Over 20 years experience in feature, TV, commercial and industrial productions. 4th Wall Productions, LLC 602-568-8652 anthony@4thwalltvandfilm. APA member. Feature film, television, video and digital photography. Digital com cinematography, DVD broadcast video production. Anthony Miles www.4thwalltvandfilm.com Arizona Freelance Productions, LLC 480-368-5773 602-919-0836 [email protected] APA member. Camera operator/Director of Photography, Location Sound Mixer. Field production for syndicated TV shows, network news and documentary television programs. Stevan Pope azfreelance.com Barcellos, Matt 602-770-4850 623-939-8737 [email protected] Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production.
    [Show full text]
  • Costs in a Film's Production Process
    European Research Studies Journal Volume XXIV, Issue 2B, 2021 pp. 1069-1080 Costs in a Film’s Production Process Submitted 26/03/20, 1st revision 21/04/20, 2nd revision 23/05/20, accepted 30/06/21 Damian Łazarczyk1 Abstract: Purpose: Film production is associated with incurring costs. This article aims to analyze the production process of a feature film through the prism of incurred production costs. The indi- rect aim is to answer the question: What is the structure of the set of costs in the production process of an audiovisual work? Design/Methodology/Approach: The study concerns the production costs of film work based on the cost philosophy of the Polish Film Institute and American solutions. The study uses the descriptive and comparative analysis method of various aspects of film production; the deduc- tive-inductive reasoning method; the costing method; the logical analysis method based on the literature on film production organization and accounting; the qualitative method in the form of unstructured face-to-face interviews with film producers con-ducted at production courses at the L. Schiller National Higher School of Film, Television, and Theatre in Łódź. Findings: The amount of cost of a film project is determined by the film script. The structure of the set of costs in the different stages of the film production process in the world is similar. The fees are an essential item in the cost of a feature film. The production organization crite- rion and the time criterion shape the film production costs. Practical Implications: Efficient organization of the film production process affects the cost of ownership of film work.
    [Show full text]
  • 3. Master the Camera
    mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included.
    [Show full text]
  • John Barzelay [email protected] (407) 761-1899
    John Barzelay [email protected] (407) 761-1899 Education University of Central Florida, Orlando, FL Bachelor of Arts, May 2008, Radio/Television. Minors in Film, Sociology. Recent Freelance Sound Mixer/Recordist, Camera Op, Steadicam (current) Work SOUND DEPARTMENT “Glendale Arts” - TV Spots – Sound Mixer (April 2012) Tegan Summer “Blue Lagoon” - Behind the scenes – Sound Mixer/Recordist (March 2012) Lifetime “Google Apps” - Commercial web-spots – Sound Mixer (September 2011) Google “Zombie Burst” iPhone Video Game –Sound Director (September 2011) “2012 Ford Fiesta” – Commercials – Sound Mixer (September 2011) Ford “Puss N Boots” – Live-action Commercial – Boom Op (September 2011) Dreamworks “Grabriel Iglesias” Commercials – Sound mixer (August 2011) Comedy Central “Prophets of Science Fiction” TV Show – Sound Mixer (July-August 2011) Discovery “Cee-Lo Green – Cry Baby” music video – Sound Mixer (July 2011) “Rango” Live-action commercial – Boom Op (June 2011) Nickelodeon. “Kids Choice Awards 2011” – Commercial Spots – Boom Op (May 2011) Nickelodeon “American Idol” TV Show – Sound Mixer/boom (March 2011) Fox “The Sorrow” Feature Film – Sound Mixer (March 2011) LapBand Commercial TV Spots – Sound mixer (Jan 2011) Tegan Summer “The Block” BET Pilot – Sound Mixer/Boom (Oct 2010) BET “Tony Hawk Pro Skater: Shred” Video game – Boom Op (April 2010) PCB. “Hatchet II” Feature film – Boom Operator (Jan-Feb 2010) Ariescope. CAMERA DEPARTMENT “YG – Get money and fuck” Music Video – Steadicam Op (April 2012) 55 Mill “My Indonesian Adventure”
    [Show full text]