Filmmaking / Directing

Aleia Sublime Very interesting. I subscribed to your channel - I am subscriber #13, my favorite number.

Shadow Dragu-Mihai hey! thank you, i also like this number a lot :)

Peter D. Marshall Great explanation. The transition from a story script to a shooting script is something many new writers don’t realize. What reads smoothly on the page often needs to be broken down into multiple scenes for practical production and scheduling reasons. It’s a good reminder that storytelling and filmmaking logistics are two very different layers of the same process. Looking forward to the next article.

Doing one at present ... it's a skill, and a bit of Wizard Magic!

A return to beloved franchises often feels like a rebirth. WHY? Because franchises serve as a blueprint for us --- both as film fans and as creatives.

In many ways, we trace our ancestry as film lovers to the franchises that first ignited our imaginations.

Had it not been for the honeyed allure of those beloved franchises, we might never have been inspired to craft the enchant worlds now taking shape in our screenplays on Stage 32.

Every creative began as a film fan. Who among Stage 32's 1,5 million-plus members can honestly deny this?

What truly stoked the fires of our enduring fascination with film? Undoubtedly, it was the captivating structure embedded within our favourite franchises --- the very thing that keeps us asking for an encore

The screenwriters who created those franchises possessed a profound understanding of film structure.

I believe that a screenwriter who prioritizes structure and demonstrates a deep understanding of both the emotional and psychological worlds of film fans --- the audience who are , ultimately, the primary stakeholders in the film industry.

Screenwriting is not driven solely by screenwriters, actors, producers, directors, sound engineers or make-up artists --- all play vital roles.

Fundamentally, screenwriting begins with acknowledging a simple truth: film fans --- the audience --- are the kings and queens who keep the turbines of the film industry spinning endlessly.

Put simply, no film fans, no franchises, no screenwriters, no producers, no directors, no industry ---- no beloved Stage 32.

In the final analysis, we must all admit --- even in our sleep --- that film fans possess a deathless appetite for beloved franchises, stories that resonate deeply with their emotional and psychological expectations. In GENESIS OF ESCHATOLOGY: THE DRINIDY which I co-wrote, the emotional and psychological expectations of our film fans play a major role in film structure to create a screaming franchise.

I have to revisit my old friend and make new ones because I believe I stopped after Scream 3.

Growing up the franchisees I gravited towards was scream, which I can not miss a beat, also final destination, as well as urban legends that one they must bring back, wrong turn is another franchise I use to like to watch now my favourite if fast and furious and Marvel next DC comics.

The Scream franchise and the spin off Scream-comedy movies are some of my favorites. I believe Scream played its part in shaping the market and how franchise movies would be presented throughout time, like many that have come before (e.g. Starwars). I'm one to say I love a good franchise. Cuddled up in front of the big screen with my favorite snacks on a rainy day is a great time to me. From Lord of the Rings, The Conjuring, and Harry Potter. However, franchises that are established to hold timeless quality like Stranger Things, It, and Jurassic Park or also notable mentions for their ability to stem far beyond novels, movies, and tv series but that evolve into full scale universes of merchandise, games, collaborations, partnerships, and immersive rides at Disney, Universal Studios. Beyond that, some of these high value IP franchises enable timeless nostalgia across generations. Movie to ride adaptions still have a large impact on my life today even though I experienced rides like Back 2 the Future, ET, and Backdraft when I was a kid growing up in California. The proximity of being around unlimited creativity and the environment walked by the stars kept my creative juices flowing and mind packed full of endless ideas. I'm sure things in California are far different than they were in the 90s.

I'd probably like to visit A Nightmare on Elm street with a modern reboot. However, aside from Freddy Krueger, I wouldn't use any of the other existing characters. I don't think you can replace the original Nancy and they already did a remake with the basic story.

The other option I'd like to do is a Friday the 13th film but with a more psychological take (as long as I retain everything that makes a Friday the 13th film) and a new protagonist who could potentially do as many as 2-3 films. I'd have to of course make the sure the first of those films actually works in a way that audiences accept it. Too many franchises look ahead without considering the first film actually works.

I do have ideas for actually do a miniseries that faithfully adapts the novel version of I Know What You Did Last Summer. There'd be changes to accommodate the modern day setting and deviating with a story that reduces a character to being hospitalized for much of it so that doesn't happen in my version. And also just having the four leads intermix more.

The only thing I think would stop me is the fact that the original novel isn't a slasher and people already have that at the back of their minds. Additionally, I'd have take into consideration that based on the box office returns past the first film and the fact that TV series didn't go beyond 1 season. I'm just not sure that IP has enough interest.

I think I'm bored already. In the context of industry, it's just reworking of IP they already own, and that's the best thing I can say about it. It's less original, more formulaic and concerned with extracting money from a defined audience rather than creating a new statement or something original. From that perspective, it's a solid and reliable business decision. That decision though is definitely taken by bean counters and funders rather than creative people, and the attitude is behind the chronic rehash reboot remake epidemic that has infected mainstream for nearly two decades now.

Olá Muda, seja bem-vindo

Muito obrigado pela calorosa recepção. Eu realmente aprecio isso.

Atualmente estou desenvolvendo um projeto internacional forte e estou ansioso para me conectar com produtores e colaboradores talentosos aqui no Stage 32.

Hey Şeref Şaşmaz Stage 32 is a great place to help figure out how to write screenplays. We have lots of resources even free webinars that can help you learn the craft and put your first screenplay down onto the page!

Here's a few free ones to check out:

Writing for TV: https://www.stage32.com/education/products/stage-32-presents-writing-for...

Writing Drama: https://www.stage32.com/education/products/netflix-stage-32-present-how-...

Writing Comedy: https://www.stage32.com/education/products/netflix-stage-32-present-how-...

Writing is the hardest job in the business - no one will ever master storytelling so it's always a learning process. Creating something from nothing. Everything else that follows is based off the story. No story, no jobs follow or exist. Director of Photography is the next one -- very technical - lenses, lighting, camera knowledge, and so on ...

This is truly epic genius. Ready for the big screen!

"Thank you so much for the incredible feedback! It truly means a lot to hear that this work feels ready for the big screen.

I am very excited to share the Visual Teaser with all of you here. However, I am currently having some technical difficulties uploading the video directly to the platform.

Does anyone know the best way to upload video content here? In the meantime, I have a link ready if anyone would like to see it. Looking forward to your guidance!"

"Experience the dawn of an epic saga. When the Five Kingdoms united to face the absolute darkness, a legend was born, and a curse was sealed.

Witness the 'Soul-Striking' world of The King of Iron Fist. This teaser offers a glimpse into a vast universe of ancient feuds, mystical seals, and the weight of a destiny yet to be fulfilled.

I would love to hear your thoughts on the visual style and the atmosphere!"

https://drive.google.com/file/d/1mzsRlwMw7KtnX1GoMNaNgUfJcCdwRDXf/view?u...

Book sales and a huge fan base.

Visual teaser captures all the brilliance and potential of this project! Great job!

Sam Rivera Let's be honest. For INDEPENDENT filmmakers it's just more cartel control over theatrical. Theatrical is a zero sum game. Which means that the more screens that an MPA associated film takes up... and they take up 90% of them. already... the less screens are available for independent films. The longer release dates mean even less access to market for the rest of us. I don't feel bad for mega-corporations like AMC who not only didn't object to the setting aside of the Paramount decrees, but welcomed the studios back into legal cartel when it happened, and are happy to cooperate with them in practices like clean screens and block booking, etc.