Romancing the Screen

Romancing the Screen by Peter Temple

I recently went through the experience of training a 6 hour program using a provided PowerPoint file of "visual support" – slides filled with text! I simply didn't have the time to make the changes I would have liked to have made – changes that I insist SHOULD BE made to make visual support effective.

So, I got to experience the situation a presenter would be in, using visual support that consisted of: - black text on a white screen - whole sentences on the screen that were exactly the same as on the participant's workbook page

Let me urge you to NEVER DO THIS!

The result was that the screen (being mostly white) was the center of attention, rather than me. It was also in the center of the stage area, forcing me off to one side.

I found myself compelled to read virtually every line, simply due to the fact that the screen was full of text. I felt I needed to direct the audience's attention to the line in question, so they'd know where to focus their attention.

Note that in a well-known survey of audience members, the NUMBER ONE dislike was for the presenter to read the slides word for word! Guilty as charged. But I found the fact that having all that text there compelled me to read it. Don't fall into this trap. You will simply lose your audience's attention – just the opposite of what you want to do.

This reinforces my firm belief that a presentation screen needs to be treated as a television screen. It is not a brochure or printed page and shouldn't be treated as one. Romance the screen. Use it for its strengths. You will appear "in control" and command so much more of the audience's attention. PLUS, you'll get them involved in an "experience." They'll be more present, involved and retain more of the content.

Here are the rules:

1. Start with a dark screen. Text must be a light color (white, yellow, etc.) on a dark background. Read my article entitled, "White Death on the Podium" for more information on this. 2. Review the point you want to make. Ask yourself, "What does the point I'm making LOOK LIKE?" In other words, try to come up with a single image that conveys the point you want to make 3. Come up with a one or two word phrase that describes your point (or reinforces it). The reason you want some text on the screen is that: a. 60% of people learn visually b. 35% learn through reading text c. 5% are kinesthetic learners (learn through doing, touch) A combination of a small amount of text and a visual helps meet the need of 95% of the audience and the text reinforces and directs the meaning of the visual.

Here's an example to help describe what happens in the room in a scenario such as this.

The subject is ‘multitasking.' I want to make the point that multitasking does not result in a higher level of efficiency in getting work done. In fact, it can be just the opposite and can have the side effect of heightening stress levels.

What does this point look like? It might look like: - A cartoon of a secretary dangling three phones, stacks of paper on the desk and a line up of frustrated people waiting to get her attention - A whiteboard with a multitude of tasks written on it - A person playing squash while using a cell phone

I might augment it with the phrase, "Multitasking – efficient?"

The alternative would be for me to put this sentence on the screen and read it aloud: "Multitasking can lead to additional stress and irritability." In fact, the slide I'd been given originally had three sentences in full of a similar length. I was compelled to read them and then try and conjure up an image my own additional set of words. Highly inefficient.

On the other hand, an interesting thing happens when you visually display an image of an obviously stressed individual. Everyone in the room relates to it and they'll readily comment on their personal experience relating to the image. You can then enter into a discussion as to the pros and cons of multitasking, in which you can introduce the facts and figures related to the latest studies. This results in an "experience of discovery" which triggers an emotional response and will be far more effective than simply "feeding them" the information as a result of reading sentences of text from a screen.

"We learn 80% of what we experience." - William Glasser, MD, (American Psychiatrist)

There's something else that can happen, if you let it. A screen with a visual can become a third entity in the room. There's first of all the audience. Then, there's you, the presenter. Finally, there's this image that you're all looking at. Suddenly, you can find yourself with the same perspective as your audience – both turning and commenting on an image, directing the collective thoughts at that image. They are now not reflecting on you and what you're telling them. Rather, they're commenting on the image and opening up to you with the thoughts they have on that image; reacting and sharing in the point you're trying to make. You have reduced the barrier between you and your audience. You'll find they'll open up more. You'll have a highly interactive discussion.

Let me just summarize the points I think are critical to your success with support visuals: 1. Whatever you do, stay away from white backgrounds 2. Treat the screen like a television set – predominantly use visuals where you can, with some short, supporting text – a phrase at most. 3. Involve the audience and empathize with them, to some degree. Create an "experience."

I think of this process as "Romancing the Screen." You're really romancing your audience. Use this method of communication for the strengths it offers and it will make you far more powerful and a much more compelling presenter on the platform.

You'll never again have to subject your audience to what they dislike the most – a presenter reading them text slides.


Copyright (c) 2007 Peter Temple

Peter Temple is a professional speaker, coach, instructional video designer, producer, director and writer for commercial and corporate television. He specializes in helping executives fine-tune their presentation skills and use new technologies effectively in their talks. You'll find practical tips and guidelines to more effective presentations through his online, video-based course. http://www.presenter-pro.com

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Screenwriting For DVD Releases

Screenwriting For DVD Releases by Zinn Jeremiah

Screenplay is a reference to a script for full-length movie. In times past, full-length movies were always distributed to and shown in movie theaters. There's a new strategy, however, for any number of produced full-length movies, and that strategy is bypassing movie theaters completely, and instead being distributed as a home rental DVD.

One of the benefits of straight-to-DVD releases is a reduction in marketing costs. Marketing costs for a theater release film are not at all insignificant. A marketing budget for a film being shown in theaters can reach thirty million dollars without much difficulty, and can go far higher than that.

Consider that virtually every theater release film is advertised in some form of print media, and often on television as well -- mostly at so-called prime time hours, where the greatest reach occurs but where costs are also highest. And costs for television advertising can be astronomical. The cost for a Super Bowl ad is at the million dollar level. Given that, it's not at all difficult to envision spending three hundred thousand dollars for one, one, thirty-second ad spot on a prime-time television show that has a good market reach.

The straight-to-DVD film can spend on advertising, but it's not especially typical. The straight-to-DVD film is advertised to a great degree through its box cover. The DVD box cover sits on a shelf in a video franchise store, customers walk past, see the DVD box, make some form of a choice about the film, and make a purchase or not. This is why having a name actor can be critical to a straight-to-DVD's commercial success: the name actor serves as a selling point, and will be always featured prominently on the DVD box cover. This sort of leverage makes for potential profit points in addition to a salary.

The screenwriter for a straight-to-DVD production will likely see no profit points, and will receive a lesser salary than the screenwriter writing for a major theater release film. This should not be seen in a pessimistic light. Writing a script for a straight-to-DVD release that has a good amount of push behind it will generate a pay of tens of thousands of dollars, at least. It will also count as project experience, and having project experience counts for a great deal in Hollywood.

Writing a screenplay for a straight-to-DVD release is also an introduction to the straight-to-DVD industry. The reality is that straight-to-DVD movie making is a profitable industry, and the proof of this is that straight-to-DVD movies are still being produced. The bottom line in the entertainment industry is profit, and if there's no profit to be made, no product will be made. The writer who writes the script for a straight-to-DVD film is a member of a profit industry, and gets access to all the perks that go along with that.

Zinn Jeremiah is an online author. Read additional writing by Zinn at article exchange. Find screenwriting instruction at screenplay writing.

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Finishing Your Script

Finishing Your Script by Julie Gray

Here's an important screenwriting tip: If you are a writer with more than a couple of scripts you haven't quite finished, you really have to stop and take stock. Is this a pattern? Be really honest with yourself. Are you having trouble finishing your script for a reason?

Often a writer will start off strong, with an idea he or she is really excited about but somewhere in the second act, discouragement and confusion set in. The premise is dead-ending or becoming seemingly ridiculous. The writer feels like a rat in a maze; running down this alternative and that only to come up against a brick wall. After a few agonizing weeks, the writer bails out. The primary culprit is a premise that just doesn't have enough story to make it all the way across the finish line. The solution: learn to thoroughly test your premise before you start pages. Develop this muscle and take it seriously. Don't just jump into a script without a plan and without a solid sense of story and screenwriting structure.

Without correcting the source of the Scriptus Interruptus, half-finished scripts pile up like so many empty beer cans and a feeling of futility sets in; I can't do this. I can't write and what kind of lousy person can't follow through and and and….it's a terrible trap. If you think this might be you, stop right now, breathe it out and without judging yourself, correct the problem.

Maybe your problem is not related to a weak premise. Maybe you have a fear of failure. If a writer completes a script then it will be read. By someone in the industry, maybe some snot-nosed assistant or intern and they will coldly dissect your baby, ripping it limb from limb and leaving you feeling empty and humiliated. What if the gilded dream of writing a movie is nothing but a torpid fantasy about to be popped by a needle-sharp bad coverage?

Rejection is part of being a writer. It's a cliché but it's true. Yes, when you finish your script it will be read, judged and likely passed on. But it may not get passed on by everybody. You only need one yes. And if that script can't find a single fan – you write another one and hope that one will.

It is very important for an aspiring screenwriter to get some kind of industry feed back. Otherwise how can you know how you stack up compared to other writers. Whether you use a script reading service, a consultant or maybe a friend who reads in the business – get a reality check. How are you doing? Yes, it's painful, it really is. But otherwise, how will you ever know how you measure up? The trick is to not take it personally. Every time a script gets a thumbs down, you must use that experience to learn so that you can do better the next time around. Be selfish about your negative feedback. Grab it, horde it, and use it to do better.

They say the average writer has written ten scripts before they become a WGA member. Nobody knows whether that statistic is a certainty, but it's not a bad yard stick for a new writer to think about. The chances that your first, second or third scripts will be written much less received well is slim, relatively speaking. But you can't get to fabulous script number eight without having done the time on numbers one through seven. It's tedious, it is painful but a writer cannot learn and improve without putting some serious time and effort in.

Screenwriting workshops or classes are a great way to learn the craft of scriptwriting and meet other writers too. And screenwriting contests are another avenue of feedback.

Of course the paradox is that with every single script you write, you have to believe with all of your heart and soul that it is terrific. That's why this business is so terribly difficult; having faith in the face of crushing odds is nothing short of attaining a kind of grace.

So for some writers the easy way out is to never join the race. They get about halfway through a script and sort of – just – peter – out. They spend a lot of time discussing things on message boards; opining, judging and lol-ing. It's much more pleasant to talk about screenwriting than it is to take your heart in your hands and just do it. But there is no other way, kids. You can't go around it. You can't skip over it. You have to go through it.

So take a good hard look at your inventory and your patterns. Are you a serial Scriptus Interruptus writer? Maybe it's time to get to the bottom of it. You can change that pattern right now. Today. But if you choose to curl up in the wet blanket of fear-of-rejection-it's-not-fair victimhood - well, terrific. Because you just left an open spot for some other writer who will can and will finish their script. One after the other.


Copyright (c) 2007 Julie Gray

Julie Gray is a mom, screenwriter and script analyist residing in Los Angeles. http://www.thescriptwhisperer.com

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Screenplays and Scripts: Understand the Difference

Screenplays and Scripts: Understand the Difference Author: M.d. Tabish Faraz

Audience of the products of entertainment industries all over the world and people who are aspiring entertainment industry wannabes and workders if not the professionals in almost all parts of the globe have developed the habbit of using the terms screenplay and script interchangeably with the later one most frequently used. This, however, is an errorneous custom and needs to be changed as to depict our correct understanding of the two terms as well as leading the people who are unconnected to the industry terms to quote the terms appropriately.

Let's begin to understand the difference between screenplays and scripts by having a loot at the definitions of the terms used to refer to the writing tasks of the two types of entertainment industry documents.

Screenwriting (not Screen Writing):

Screenwriting, sometimes written as Screen Writing, which is no more a valid method of writing the term in almost all of the Hollywood but in few other parts of the world, is the term given to the task of screenplay writing.

Scriptwriting or Script Writing:

Scriptwriting or Script Writing is the term given to the task of script writing.

What most people should not do, but do is confuse screenwriting with scriptwriting or script writing. Although screenwriting and scriptwriting are not totally different, they are still two different mediums of media writing.

A script for a talk show, news, infotainment program, etc, whether on TV or radio, cannot be termed as a screenplay. On the other hand, a screenplay of a movie or TV program that is presented in a dramatic narrative with scenes and dialogues can be termed as a script. Why? Because a screenplay is a form of script and not opposite is the case.

Here is what Film Terms glossary of the Babylon dictionary says about a screenplay:

A document text in a specific format which contains the dramatic elements of the film, as well as indications of other elements such as setting, light values, action, and, in general, everything which it is essential to see on the screen from the point of view of the whole narrative; in its relationship to the completed film, a screenplay is sometimes described as being analogous to a blue print of a structure. The analogy is true up to a point, but in fact there is no other kind of text which has the specific characteristics and constraints of a screenplay. And no other text which, when successful at attaining its goal--i.e., the finished film--effectively ceases to exist except as a historical and critical curiosity.

And here is what the Babel glossary says about a script:

A general term for a written work (and with special reference to the entertainment industry) detailing story, setting, and dialogue. A script may take the form of a screenplay, shooting script, lined script, continuity script, or a spec script.


Copyright (C) 2007-2008 M.d Tabish Faraz. All Rights Reserved.

Article Source: http://www.articlesbase.com/screenplay-articles/screenplays-and-scripts-understand-the-difference-185442.html About the Author:

M.d Tabish Faraz is a freelance screenwriter, creative web content writer, article

writer, and copywriter

http://writertabish.blogspot.com/
http://writers.net/writers/35682/

Screenplay Slug Lines - An Important Element Of Screenwriting

Lynne Pembroke

Over the years, I've found that new screenwriters frequently have confusions and misunderstandings on the proper way to write slug lines, also known as master scene headings. This article covers the basics of writing industry accepted screenplay slug lines.

Tips On Slug Lines

Scene headings or slug lines, as they are commonly called, are a widely accepted convention of "spec" or "master scene" screenplay form. Over the years, I’ve found that new writers frequently have confusions and misunderstandings on the subject, despite having read a basic book or two on the craft aspects of screenwriting. Hence, the reason for this article.

Every time the "where" or the "when" of your story changes, it's expected that you'll reorient the reader as to location and time of day with a new slug line. A slug line is composed of three parts:

1) INT. or EXT.
Is it an interior or exterior scene?

2) WHERE
The physical location or name of the set where the action of the scene takes place.

3) TIME OF DAY
Usually simply DAY or NIGHT.

Examples:
INT. JOE'S BAR AND GRILL – NIGHT
EXT. SANTA MONICA PIER – DAY

Whether a scene is INT or EXT is to some degree relative. In truth, some of your INT scenes may be shot outdoors and some of your EXT scenes shot indoors against a blue screen. For the sake of simplicity and consistency, I recommend that if the action takes place IN something (a building, a car, a spaceship, etc.) label the scene INT. If the scene takes place outdoors, and not in something, label it EXT.

It's generally considered poor form to use INT/EXT in combination in a slug line. If the action of a scene shifts from INT to EXT, or EXT to INT, write a new slug line. If you find yourself in a situation where you're inter-cutting rapidly between an INT and an EXT location, chances are you're usurping the job of the director by writing HOW your story should be filmed rather than simply telling your story in a compelling fashion.

Scene locations should be specific and descriptive. "INT. RESTAURANT", is a poor slug line in that it's neither specific enough, nor descriptive enough. Slug line locations such as, "INT. WANG CHOW'S CHINESE JOINT" or, "INT. BIG ED'S GREASY SPOON DINER", being both descriptive and specific, are far more visual in the impact they have on the reader.

Be consistent in your description of scene locations. Once you've labeled a location as JOE'S BAR AND GRILL' it should not mutate into JOE'S RESTAURANT, and then later, THE BAR AND GRILL ON 8TH STREET. After your screenplay is sold, it will be broken down by location and time (day or night) for budget and scheduling purposes. (Obviously, it's far more efficient to shoot all scenes taking place in the same location at the same time.) Be kind to your readers by labeling scene locations in a consistent manner.

Avoid presenting extraneous information in your slug lines. (EXT. SANTA MONICA PIER – 1912 - POURING RAIN – DAY) Remember that the audience will never see your slug lines. If it's important, and not self-evident, that it's pouring rain and the year is 1912, find a way to present that information via action or dialogue in a filmable way.

Keep your slug line extensions simple. Ninety-nine percent of the time, "DAY" or "NIGHT" will suffice. And again I would remind writers that the audience won’t ever see your slug lines. I know of no good reason to indicate action is consecutive by using, "CONTINUOUS" as a slug line extension. If action is "continuous" it should be self-evident.

Are some very good high-priced writers non-conventional in their handling of slug lines? You bet! But keep in mind as a new writer, if you follow the generally accepted conventions of screenplay form and format, you're far less likely to distract the reader from the tale you seek to tell.

Copyright (c) 2004 Lynne Pembroke and Jim Kalergis, Coverscript.com

Lynne Pembroke and Jim Kalergis
Coverscript.com
URL: http://www.coverscript.com

We will be pleased to have the above article published but first, please contact pemburger@aol.com">pemburger@aol.com informing where this article will be published.

About The Author

Lynne Pembroke is a published author, poet, screenwriter and owner of Coverscript.com, with over 18 years of experience in screenwriting and screenplay analysis helping individual writers, screenwriting competitions, agents, studios, producers and script consulting companies. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Jim Kalergis is a working screenwriter. Visit http://www.coverscript.com for details.

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Contest Advice for Screenplay Writers

Lynne Pembroke

Introduction

There are many screenplay contests available to the aspiring screenwriter. These contests can be a good avenue to getting one's work noticed and/or make a sale. So, it's important to make certain that you have written your screenplay to the best of your ability and according to industry standards.

The most important thing to do for any aspiring screenwriter is to first learn the basic techniques of screenwriting before sitting down to write one. I come across many hopeful writers who think that all it takes to write a script is a good story idea and a lot of explosive special effects. While a good story is important, with or without the special effects, writing that story using proper industry standards is equally important. (Please visit http://www.coverscript.com/education.html -- Tips for Screenwriters link for further information.)

There are specific techniques to the craft of screenwriting involving everything from act structure to proper screenplay format, which must be followed. It's difficult to write engaging characters, focused plots and entertaining screenplays without having a solid framework in which to bring it all to life.

Before any money is spent submitting your work to a screenwriting contest, it would behoove the writer to first educate himself in the "tools of the trade". There are many, many screenwriting books available as well as workshops and seminars, both online and in live classroom situations. My advice is to take advantage of them. Then, armed with the basics, write, write and then write some more.

Then before submitting your work to any screenplay competition have it copyrighted and WGA registered. (United States Copyright office: http://www.loc.gov/copyright. Writers Guild of America: http://www.wga.org/.)

Advice and Suggestions

I am a judge for many contests and as such, have read thousands of TV scripts and screenplays. I can assure you that the winners are chosen because their screenplays or TV scripts contain great stories and are written to industry standards. Therefore, putting your best foot forward is a must. Below are some pointers to keep in mind before you submit your screenplay.

• If your purpose is to "break into the business", make certain that the script contest you enter offers meetings with agents and/or producers as part of the prize for winning and not just cash prizes. Of course, if it is just the extra cash you're after, then go for it!

• Make certain, before you write that entry fee check and send in your material, that the screenplay contest or TV script competition is a reputable one and indeed has, in the past, delivered to its winners what it promised in its promotion.

• Presentation of your screenplay does count so make certain your screenplay follows the accepted industry standards. This not only includes using the proper screenplay format but also such things as a typo-free screenplay and the correct binding.

• Keep in mind that the industry professionals who sponsor some of these film and TV competitions do so in order to find good producible material, hopefully for lower rather than higher budgets. Therefore, entering a screenplay in a genre with a story that screams "high budget" lessens the writer's chances of winning. This means that
  1. Sci-fi special effects stories taking place on purple planets populated with giant, paisley-skinned, seven-armed, Plasmanian Wooglegorps who magically float through the air using anti-gravity belts or
  2. a 1920's Period Piece necessitating Model-T's, Zoot suits and flappers or
  3. an action/adventure story that has the bad guys blown to smithereens, along with their Lear jet, over the ocean, followed by a high-tech nuclear submarine underwater search and rescue mission while the oil slicked water burns out of control, may not be the best way to go.

• Make certain that your story is told visually. Film is a visual medium.

• Make sure you don't have "on the nose" dialogue or too much dialogue and that all the dialogue sounds natural.

• Check to make sure that your characters are interesting, engaging and have good character arcs. Nothing worse than having an unlikable hero, a wishy-washy bad guy, or a protagonist who starts out angry at the world and by the end of the story is still angry at the world having learned and changed nothing in his nature.

Conclusion

Once you've gone through your screenplay and are satisfied with it, have it read by someone else. After all, your story is intended for a movie-going audience so honest opinions from friends and family members will give you a feel for that audience reaction.

Then do yourself a favor and have your screenplay read by an industry professional that has experience and good credentials in the area of script analysis. A writer can become too close to his work and not be able to "see the forest for the trees". It is to your advantage to have any possible format, story, character, dialogue and structure flaws found and corrected before it is submitted to a movie or TV script contest.

While there is never any guarantee your screenplay or TV script will be a winner, writing one to the best of your ability and which meets industry standards is a must, as the competition is fierce.

I wish you great success in your present and future story-telling adventures.

Lynne Pembroke
Coverscript.com
URL: http://www.coverscript.com/

About The Author

Copyright © 2004 Lynne Pembroke, Coverscript.com

We will be pleased to have the above article published but first, please contact pemburger@aol.com">pemburger@aol.com informing where this article will be published.

Lynne Pembroke is a writer, poet, screenwriter and owner of Coverscript.com, with over 18 years of experience in screenwriting and screenplay analysis helping individual writers, screenwriting competitions, agents, studios, producers and script consulting companies. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Visit http://www.coverscript.com/ for more details.

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Creative Writing Tips - Have You Established Your Main Character At The Start?

Nick Vernon

In the beginning of your story you have to grab your readers’ interest and sustain it till the end. Our hook is our character. Readers keep on reading to find out more about the character. To see what he’ll do in the story; how he’ll solve his problems. What his goals are and whether he’ll achieve them.

And because our character is the reason readers become hooked on our stories, establishing him at the start is a must in a short story. And it is essential to establish him at the start because we don’t have the capacity in our limited word length to introduce him at our leisure.

The bond between readers and character has to be developed almost immediately.

You might have a few characters though. How do you decide who your main character will be? A main character is one that drives the story.

Think of it this way… If we were to take him away, there will be no story because it’s his story we are telling. The story will unfold by what is happening or what has happened to him.

When you establish who your main character will be, the next thing to do is to find which of your characters is in the best position to tell the story. Will your main character tell his story or will you give that role to another character?

This is what we call Viewpoint and what we’ll see in more detail in proceeding chapters.

Your main character isn’t necessarily the one who is telling the story; he might not even appear in our story ‘physically’ but will be there through the thoughts of others. So the viewpoint character might be a secondary character.

Whoever is telling the story is the viewpoint character.

The viewpoint character gives the coloring of the story. Whatever this characters says, we will believe. It may or may not be true, according to the main character, but because he isn’t there ‘physically’ to voice his opinions, we will have to take the viewpoint character’s word for it.

In a novel you can play around with viewpoint. You can have several viewpoint characters. In a short story it works best with one.

So your main character, whether he’ll be telling his own story or someone else will be doing it for him, has to be established at the start of your story.

Having said that, let’s see the reasons why the main character may not be telling his own story...

• Perhaps our main character is one that readers won’t sympathize or empathize with.
• Or the main character will not view highly with our readers
• Or the viewpoint character knows all the facts and can tell the story better
• Etc.

~~~~~~~~~~~~~

Let me give you an example of a secondary character telling the story of a main character…

Let’s say your secondary character is a psychiatrist and the main character is the patient. Depending on what’s going to go on in the story, we’ll have to choose who’s in a better position to tell it. In this case, I will choose the psychiatrist.

I’ve done this because the patient is confused, being the one with the problems. The psychiatrist knows all the facts and his opinions will make things clearer to readers.

So, as the secondary character (the psychiatrist) unravels the story, we’ll become involved in the main character because it’s the main character’s story that is been told.

This may get a little confusing to the beginner writer. As they write they will have to keep in mind that the secondary character, although he’s telling the story, is NOT our main character.

The secondary character is there to do perform a task. He’s only the voice. It’s the main character we’ll become involved with.

A secondary character doesn’t play such an important role as a main character does. Therefore, information about secondary characters should be kept to a minimum. It’s not his story – it’s the main character’s story and the spotlight must, most times, be kept on the main character.

Take the above example for instance. It’s no relevance to the story how the psychiatrist started his career or where he received his diploma – what’s important, is what he has to say about the main character, his patient.

~~~~~~~~~~~~~~

Introduce your main character straight away, as close to the beginning of the story that’s possible. Enable your readers to form a bond and that will keep them hooked.

Is your main character established at the start of your story?

About The Author

Besides his passion for writing, Nick Vernon runs an online gift site where you will find gift information, articles and readers’ funny stories. Visit http://www.we-recommend.com

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