Filmmaking / Directing

Throughout these five stages, the director plays a critical role in ensuring the story makes sense and that each character’s performance (their beats and moments) is consistently shown. The director must also keep track of what the story is (really) about through all these stages.

(2) First Drafts: The first draft is the first full version of a script, where ideas from the outline are developed into scenes, dialogue, and character interactions. While called a "first draft," it often takes multiple revisions before the script is polished and ready for production.

1. Expanding the Outline: Writers turn the outline into a full script by adding scenes, action, and dialogue, uncovering new ideas or challenges along the way.

2. Focus on Completion, Not Perfection: The goal is to finish the draft, even if parts are rough, building momentum for later refinement.

3. Finding the Voice and Tone: Writing the scenes helps define the story’s tone and characters' voices, allowing for experimentation to fine-tune the balance of dialogue and pacing.

4. Addressing Plot and Character Challenges: As the story develops, writers may notice forced or unclear plot points, shallow or inconsistent character motivations, and scenes that don't advance the story. These issues are flagged for future drafts.

5. Series of First Drafts: The first draft is rarely enough to capture the writer’s vision. Each draft gets closer to a version ready to share with producers, directors, or financiers. Multiple drafts help to: remove unnecessary scenes or subplots; add depth to relationships and motivations; make dialogue sharper and more authentic; and adjust the story’s rhythm for better engagement.

NEXT ARTICLE: The 5 Stages of "Writing" the Final Script (pt3)

This week, I’ve been challenging myself to try new ways of reaching potential collaborators.

I had to be honest with myself: I can’t keep doing the same things over and over again and expect different results. That’s not growth, it’s just repetition. Sometimes the work isn’t about pushing harder, it’s about adjusting your approach and staying aware of how people’s expectations, interests, and communication styles are constantly shifting.

What works when approaching one person isn’t necessarily going to work for another. And if we’re not taking the time to evolve how we reach out to someone we genuinely want to connect with, then we’re not really building relationships in a way that leaves a lasting impression.

One of the questions I hear often on Stage 32 is:

“Why can’t I send the same DM or comment to multiple people? Copying and pasting makes it faster to share my project.”

I completely understand the impulse. We’re all busy. Rewriting the same information over and over again can feel inefficient. But this isn’t really about efficiency, it’s about intention.

Copying and pasting the same message to dozens of people, or dropping the same pitch across multiple unrelated threads, is spam. It’s no different than a bot blasting messages into the void, and that’s not how you want to be perceived by potential collaborators, partners, or buyers.

If you value someone, your approach should reflect that.

Your project details don’t change, and it’s perfectly reasonable to have a clean, concise version of that information ready when the time is right. The part that should change is everything around it. Your opening. Your tone. Your curiosity.

Engage with people as people first. Ask about their experiences. Ask what they’re working on. Take time to understand what excites them creatively before you ever talk about yourself. Invite them for a virtual coffee with no agenda other than conversation. Even high-level professionals will often make time for that when they feel respected and genuinely seen.

This kind of approach takes more effort, but it builds something real. It shows that you’re not just looking for what someone can do for you, but that you’re interested in who they are.

For me, this week’s growth has been about pausing, re-evaluating, and asking myself:

How can I approach this connection with more intention, more openness, and more respect?

What’s one way you’ve adjusted your outreach or networking approach to build more authentic creative relationships? Or, what’s something you want to try differently moving forward?

Share what’s helping you grow, or how you're challenging yourself. You never know who might need to hear it.

Oh hell yeah! https://deadline.com/2026/02/david-mamet-anthony-mackie-sharon-stone-speed-the-plow-film-1236711790/

Another pattern I keep seeing across the creative industry is that projects don’t stall because of lack of effort — they stall because the weight of the project is sitting in the wrong place.

When the weight is misplaced, creators compensate by:

- pushing harder

- adding more tasks

- expanding the scope

- forcing momentum

But effort can’t fix a structural imbalance.

A project only moves when its weight is aligned with:

- the true identity of the work

- the actual purpose

- the correct upstream direction

When the weight is wrong, everything feels uphill.

When the weight is right, the project moves on its own.

Upstream clarity isn’t about force.

It’s about alignment.

Throughout these five stages, the director plays a critical role in making sure that the story makes sense and that each character’s performance (their beats and moments) is shown consistently. The director must also keep track of what the story is (really) about through all these stages.

1. Outline or Treatment Stage: At this stage, the focus is on defining the story’s core structure, including major plot points, character arcs, and key scenes. This is done through an outline or treatment, which provides a high-level overview of the story without specific dialogue or scene details.

Writers use this phase to refine pacing, themes, and direction, setting a solid foundation. Tools like beat sheets or act summaries clarify the story’s flow. The outline acts as a blueprint, providing direction while allowing for creative flexibility. A strong outline also helps identify issues early, saving time and ensuring a solid script foundation.

1. Story Concept and Theme: Start by defining the core idea and theme of the story. What is the story about? What message or emotion should it convey? This clarity will guide the outlining process.

2. Major Plot Points: Identify the key events that drive the story. These plot points form the story’s backbone and ensure a strong story structure.

Inciting Incident: The event that kicks off the story. First Act Break: A shift that pushes the protagonist into the main conflict. Midpoint: A twist or revelation that raises the stakes. Climax: The high-stakes resolution of the conflict.

3. Character Development: Create basic character profiles that outline their goals, motivations, and flaws. Strong character arcs create an emotional connection with the audience and provide depth to the plot. Protagonist’s Journey: What internal and external conflicts do they face? Antagonist’s Role: What obstacles do they create? Supporting Characters: How do they contribute to the main story?

4. Key Scenes and Beats: Outline the pivotal scenes and narrative beats that drive the story forward. These scenes ensure that the pacing feels dynamic and engaging. These can include: Major confrontations. Moments of character realization or growth. Action sequences or emotional high points. Setup and payoff for subplots

5. Structure and Flow: Arrange the story elements within a chosen structure (e.g., three-act structure, five-act play, or nonlinear timeline). This process helps maintain logical progression and ensures that tension builds effectively.

6. Setting and World-Building: Flesh out the story’s environment by defining the time, place, and atmosphere. Whether it’s a grounded, real-world location or an expansive fantasy universe, the setting should enrich the narrative and influence the characters’ experiences.

7. Tone and Style: Establish the desired tone (e.g., dark and suspenseful, light and comedic) and style (e.g., fast-paced, dialogue-heavy) to ensure consistency throughout the script.

NEXT ARTICLE: The 5 Stages of "Writing" the Final Script (pt2)

The Cave's Fire (2025)

Original Soundtrack: Alberto Caputo

Film Directors: Alessandro Alicata, Maurizio Tesori &

Francesco Leo

Link: https://youtu.be/CnpRJfpU6YI?si=4bMNeevjA77ooe9b

Markiplier's independent horror film, Iron Lung, just scored a massive $21.5 million at the global box office, and the emotional YouTuber turned filmmaker believes its success could be a turning point. His project, entirely self-financed and made outside the studio system, went head-to-head with a new Disney movie, proving there's a huge audience for creator-led cinema. He hopes this victory inspires a new wave of filmmakers to pursue their own projects independently.

Read more here: https://www.ign.com/articles/i-think-it-might-be-a-big-win-for-independe...

Hi everyone! Well I am finished my documentary, finally! It is feature length and my first documentary and feature length film. My question is: For those who have done this before, is there any particular Documentary festivals you would say to enter for sure? I would love to get accepted into all the major players but I understand that I have no pedigree and to even get accepted in to any of them is a real long shot. Is there any others that exist out there that have a smidgen of respect in the festival world that offer a slight chance of being accepted? I am doing research but I want to hear of some real world cases. I appreciate any time that some of you may give this question. Thanks!

https://youtu.be/dlYARC-jTL4

Ask Me Anything | Feb 4–5

Hi everyone, I’m Joshua Young, an AI consultant focused on ethical integration in the film industry, and a 42-time award-winning screenwriter, director, actor, and producer with over 20 years of experience.

My role is simple. I act as an AI translator for creatives. I cut through the hype, the fear-based headlines, and the marketing noise to show filmmakers how AI can support their workflow without replacing them or diluting their creative voice.

My guiding principle is: Tools, NOT Terminators.

AI is not a future threat. It is already embedded in our industries, our tools, and our daily lives. Like the arrival of the internet, digital filmmaking, and streaming before it, AI represents another major shift. 

The problem is not AI.

The problem is misunderstanding it.

This AMA is about finding the balance. AI as an assistant, not an artist replacement.

What This AMA Will Cover

- How to use AI without losing your creative voice

- Where AI is genuinely useful in a filmmaker’s workflow

- Where AI should not be used

- How to set boundaries so AI serves your intent

- How to separate real tools from hype and fear-based narratives

- What informed early adoption actually looks like

I will be answering questions throughout Wednesday, February 4th and 5th, so bring your questions and your curiosity.

Example Questions Members Can Ask

1. How can writers use AI without replacing their unique voice and vision?

2. What parts of the filmmaking process benefit most from AI right now? Hint: Workflow WITH a human monitoring it.

3. Where should creatives draw a hard line with AI?

4. Does using AI hurt a writer or director’s credibility?

5. How do you prevent AI from steering story, tone, or character?

6. What is the biggest misconception filmmakers have about AI?

7. Can AI realistically help indie or mid-budget projects survive?

8. How should skeptical creatives start experimenting with AI safely?

https://variety.com/2026/film/box-office/markiplier-cries-iron-lung-indie-film-global-box-office-debut-1236649636/

During my years of teaching, I occasionally had film students who did not fully understand, or were confused, about the difference between “Subworld” and “Subtext. So to clarify, the words Subworld and Subtext are two distinct narrative concepts used in storytelling - but they serve different functions.

SUBWORLD: A subworld refers to a hidden realm within the story that exists alongside or beneath the main world. It could be an alternate reality, a dream world, or a symbolic space that exists within the story but is not always explicitly acknowledged by the characters.

Subworlds are often used to represent deeper emotional, psychological, or thematic layers of the story. Subworlds can also refer to the inner thoughts, fantasies, or internal struggles of a character that may not be visible on the surface but influence the story.

SUBTEXT: Subtext refers to the underlying meaning that is not directly stated in the story but is implied. It’s what characters “mean rather than what they say,” allowing for deeper layers of interpretation. For instance, if a character says, “I’m fine,” the subtext might reveal that they are actually upset or hurt, even though they do not express it outright.

Subtext conveys hidden emotions or tension between characters and plays a crucial role in storytelling, especially in genres like drama or romance, where what isn’t said is often more important than what is explicitly stated.

In summary: Subworlds deal with hidden or alternate realities within a story, representing psychological, thematic, or symbolic layers. Subtext refers to the unspoken or implied meanings in dialogue enriching character interactions and the overall emotional depth of the story.