Producing

It's what I am doing Stephen Folker :)) I thought it would take months, but it's really too fast. Thank you, my friend.

Sandra Isabel Correia, Producing your first project really is a trial by fire, but it teaches you so much so quickly. My best advice- over-prepare but stay flexible, things will go sideways, but having a strong core plan gives you the confidence to pivot when needed without losing sight of your vision. Also, investing time in assembling the right team (even if it takes longer) makes all the difference when challenges pop up. I cannot wait to see how your project comes together!

Thank you Ashley Renee Smith for your wise advices and I registered all of them. The plan is everything, even if we need to change something, it helps a lot. Tomorrow we go to scout locations, the cinematographer and myself. He’s a very good professional with credits from Andor and House of the Dragon, so I am in good hands :)) Thank you again :))

Sandra Isabel Correia if there's anyone that can pull off a well thought-out, deep psychological thriller, it's you. It's going to go well and not only will you learn from this experience but it will be enjoyable because you'll be in your element, even if you don't know it yet. Everything will flow. Have fun scouting locations tomorrow, friend.

Ahahaha Leonardo Ramirez, I think all of you know me so well that this bold move will be a enjoyable and pleasant ride :)) I love when you say: even if you don’t know yet! You are right my friend :)) Thank you for your warming words and tomorrow will be fun scouting :)) Thanks my friend:))

Hey, Katie P Pryor. I hope you and everyone have an incredible time and fun at Cannes!

I'm so excited for your panel, Katie P Pryor! Something I'd love to hear more about would be: What are some actionable steps filmmakers can take to tap into international production incentives, especially when filming in a region for the first time? That’s such a relevant challenge right now, especially with the shift toward more globally distributed productions.

Hi Katie P Pryor , thank you for opening the door for us. This panel is spot on for Cannes 2025! The global approach to filmmaking is more relevant than ever, and it’s exciting to see the industry embrace new creative hubs worldwide.

I’d love to see a discussion on sustainable production practices: How filmmakers can minimize their environmental impact through eco-conscious choices like reducing carbon footprints, minimizing waste, and adopting greener set designs.

Additionally, how can filmmakers engage with local talent and communities in a way that fosters authentic storytelling while ensuring cultural respect? Finding ways to collaborate meaningfully without appropriation.

Thank you for inviting suggestions. I wish you a fantastic Cannes 2025 and great success in achieving your goals!

Xochi Blymyer Thanks so much for sharing this! It’s such an important conversation to keep having, especially as so many productions continue shifting overseas. It really highlights how much the industry is evolving, and how vital it is for states and cities to stay competitive with tax incentives and infrastructure. It’s definitely something that affects all of us working in film, no matter what stage of the process we’re part of.

Great question Elmare. The best lesson was the "Rule of 3" Give someone something 3 times before you ever ask for anything in return. This business is so hard and people want to work with people that they like. You want to give selflessly to people to gain support and trust. Then, once you develop a relationship, then you can ask for something in return. It's about the long term relationship, not the short term gain.

Amanda Toney This actually really good. Thank you for this this. It will help me to place boundaries around my giving as well. Being a Business owner , you are the brand and by giving too much, your business suffers. I love this advice Nugget. Thank you

Hi, Elmare Hendricks. I was a producer way back. I learned that a producer needs to learn about the different areas of the industry and stay up to date on what's going on in the industry.

Elmare Hendricks, Absolutely! One of the most valuable lessons I’ve learned outside of film school is that your attitude and energy in any professional setting can be just as important as your skillset. People will remember how you made them feel, whether you’re in a meeting, pitching a project, or working through creative notes. Respectful, thoughtful collaboration opens doors.

Another big one: clear communication and logistics are everything. You can have a brilliant concept, but if you can’t explain it clearly or organize a path to execute it. Especially across different teams and timelines, it can fall apart fast. Being flexible and solution-focused, even in the planning or development stages, can truly set you apart.

You're right, Michael Fitzer. Making movies is hard! And lonely. I tried to make two feature films way back, and that's how it was for me. I did get producers/etc. on my team eventually. I didn't have a lot of resources back then (like the resources on Stage 32 and this podcast), which made it harder. I just followed Liz and Alrik's podcast. Thanks for sharing it. I don't plan on getting back into producing, but who knows. Hope you get your features into production and the funding!

Thank you so much for sharing this, Michael Fitzer! It’s so true, filmmaking can feel like an incredibly lonely journey sometimes, especially in development when everything still feels so fragile.

Toni D'Antonio, this will be my first time attending Cannes, and I truly can’t wait! I’m so excited to meet so many Stage 32 members in person for the first time. It’s going to be incredible to connect beyond the screen and build real relationships face-to-face.

I’m really looking forward to soaking up the experience, learning as much as I can, and having meaningful conversations with creatives from around the world. And I’m always up for connecting, collaborating, or clinking a glass while we’re there!

Hey Ashely. Best of luck navigating this year. Will you be hanging out at the American Pavilion at all? Did you get your badge for that yet? It's a great resource to stop by for a rest and mingle. Reach out to me on WhatsApp while you're there... ToniDinNYC... perhaps we can connect. Travel safe and best of luck! Toni D

I'll mostly be over at the FilmUSA tent, overseeing the Stage 32 panels, but I'm sure I'll be by the American Pavilion at some point! It would be great to connect! Also, make sure that you RSVP for the Stage 32 Meetup- https://www.stage32.com/meetups

Hi, Jackie Ward. Welcome to the community. I'm not producing a project, but I'm looking forward to reading the questions. I hope you have an incredible time at Cannes!

Thank you for opening up this conversation, Jackie Ward! It’s so valuable to have experts like you sharing insights on this side of the process. So often creators are focused on the creative and financing side, but not always thinking ahead about chain of title, underlying rights, or future distribution needs until it’s crunch time.

What do you feel are the most common legal issues that come back to haunt productions later if they aren’t handled properly upfront?

Yes, the strong arm(s) of the industry, the pay to play or cost of "doin' business" people who are now sending petitions to their members "to keep filming in LA" - them! They have all been given too much power. Just make sure you fill out the paperwork correctly when you finish your film (or early on) NO CAMA, no sales agency, and NO distribution ahead of getting your Bond back. I mean, of course that's the truth, right? ;)

I was speaking to a SAG-AFTRA consultant from their studio negotiations about this very thing a month ago. She admitted to me that productions getting their posted deposits back is an issue they are aware of and something they are always trying to do better on. Her advice for independent productions was to try to "interview" your SAG-AFTRA rep at the start of a production, ask about this specifically, and if you don't feel confident about the answers or relationship, ask for another rep. This may all be easier said than done in many cases, but to Shane Stanley and your points, Michael Maizner, the earlier a production can start the process to give you time to communicate with your rep the better and being meticulous with your paperwork is key so there are no redos and kickbacks, which makes the process take even longer and risks "red tape". They are large organziations, like many others, facing their own challenges, and we all support our unions so approaching with a good attitude of collaboration and working with individuals within the organizations that you feel some connection with, was the advice I got.

Thank you, Sam Sokolow as always, I enjoy your input. As a 30+ year signatory, I will say "Don't drink the Kool-Aid." That GUILD (not a union) knows exactly what they are doing and how to improve when they drop the ball and they don't care internally to fix one thing, because it isn't broken in their eyes. They love holding on to money that isn't theirs. Personally, I have never had an issue getting my bonds back, and we contact SAG usually 2-3 months before the start of our productions and anyone who waits til you're close to your start date shouldn't be producing films anyway. As we all know clearance is a big process and they won't usually clear you until about 48 hrs out of your proposed start date and that's on purpose. They don't want producers having a cleared production too far in advance, - in their minds gives the producers too much leverage and power to run amock before go time. I do, however often get roped in as a consultant to other producers who have been taken advantage of by SAG, and when you see some of the blatant games on how they "hot potato" paperwork from one rep or department to another - and use bogus holidays for blacking out or ghosting people for as much as 4-6 weeks (each time), it becomes evident the shell game with other people's money that they are willing to play. I cannot tell you how many times FCL and DERs are "lost" - or they'll claim they didn't get it. You can predict exactly how it will go, and when their post "audit" comes in what conveniently gets lost IF (big IF) you don't know who to CC or even BCC in the process. Because there is a trickle-down effect to their post-bond return process and even if you follow the written rules of who to send different DOCS in to, there's still often a significant number of balls dropped along the way that you have to watch for ahead of time. A lot of the right hand not talking to the left, or worse, not even trying. I consulted on a bond return less than 3 months ago and the games they played on the producers were criminal. Funny how once an attorney got involved they got their bond back after 6 months within 48 hrs. So, trust me - they are not trying to improve. They know the majority of the Producers they work with are indie rats and don't have a lot of muscle. And YES, there are quite a few Producers who don't do their part at all and that delay is ALL on them. But trust me, the ones who run a well-oiled machine can have to wait well up to 3+ months. We send in everything the DAY after wrap. We are lucky if it takes less than 3 months with a lot of follow-up, reminders, and nudging of superiors and blatantly CC'ing them and mentioning the superiors in the initial emails It gives these reps a sense of accountability.

Since the Pandemic, their claims of understaffing and ghosting Producers who have done the paperwork are mindblowing. If you do a film or so every year or less frequently, you don't see it as blatantly as you do when you're called in to help several films get their bonds back every year. Are you aware that the bond they force on Producers doesn't even go to the burned actors if the Producers should default on payroll? Ask around, find an actor (whose money wasn't in escrow) who got paid through that bond after they got screwed by a Producer who didn't pay and there was no money to go around). Do you know how many times when they return the bond via a check, the check hasn't been signed? Do you realize the delay that causes - when they "accidentally" do that? Their mission is to create as many loopholes and speedbumps as possible to delay the process of returning the bond. Period. SAG has a very angry membership - after their stint with the cutting of benefits during the pandemic and of course, mandating vaccinations, etc. I would set your watch to how long it will be until that class action lawsuit drops for how that was handled.... The guild is losing its grip and they know it. Don't get me wrong, there are some wonderful people in the guild, but their Global Rule One has turned the focus on keeping the money they get on these crazy 40% bonds and the ass-dragging they do on getting them back.

Do you want to know the TRUTH about an organization? Befriend and/or gain the trust of their former employees or retired officers. Having been doing this for as long as I have, several of my reps have left SAG over the years and I can say that with a few, I am still friendly with. That's where the real eye-opening sh^t comes into play.

Producers can be very market-oriented. They aren't necessarily looking at the craft like a reader would do. They each have their respective specialty, expertise and skills. Take each comment for what it's worth.

Thank You, RB!

Great to see you here, RB! I hope I'm not too late.Thanks so much for spreading your knowledge and experience. What are your thoughts on new media and the idea that short form content creators on TikTok and Youtube are the next wave of entertainment? The way the industry has been going the last couple of years with strikes and a pandemic, how do you see the movie industry adapting in the next decade? Or can it even adapt and is it more likely to disappear?

Hi everyone, we're working on editing the video - there were some audio issues for some being able to hear me so we are editing it today and it will be live in the education library for everyone to pick up, so stay tuned for it! https://www.stage32.com/education/c/education-webinars

Thanks for letting us know, Amanda Toney!

Great interview Geoff Hall and Sandra! Alexia really knows her stuff and is always so generous with her experience.

Leonardo Ramirez that’s right, Leonardo. We had a great time together. Alexia has great energy and light.

We are really proud of this interview, aren’t we Geoff Hall? Alexia Melochi is first female filmmaker who accepted our challenge and it took us months to set up agendas, so we are really proud of it. Second, she is “the Masterclass” of filmmaking and her insights about Women in Film are precious.

Seeing Rachel it’s a female driven screenplay and to have Alexia was the cherry on top, for now. There is still more to come!

Thank you also Stage 32 for all of this connections and linked us!

Sandra Isabel Correia indeed we are very proud of it, Sandra. And yes, it took a lot of setting up, but your perseverance was the key. Yes, with thanks to Stage32 for the connections. Our community is precious to us.

Thanks for your persistence and focus Sandra Isabel Correia and Geoff Hall. It´s a great opportunity for me to get to know so many different things. Congrats you both.

Pat Alexander hi Pat, Hartlepool is my home town.

As a kid, this area of Lynn Street and Whitby Street was a vibrant shopping area until the 80s suffered an industrial decline.

My apprenticeship as a Sparky was in Church Street, which is at the top of those two streets and Church Street appeared in Ridley Scott’s first film, The Boy and Bicycle back in the early 60s, I think.

I was up there a couple of weeks ago and Northern Studios were having an open weekend event, asking people to visit and share their views on the new developments.

I loved this linking with educational institutions, as the young people of the area need to have hope, when they leave school.

"By linking with the colleges the production village will benefit from their views and skills and be able to prepare them for the future."

This could potentially resurrected the economic situation in the town, which has suffered greatly since those dark days of Margaret Thatcher. Here’s hoping for great things!

Thanks for the share!

Amazing Geoff Hall, never realized you were from there! As someone from Louisiana who saw in the late aughts/early 10s how building film/TV infrastructure can evolve a community and provide large economic impact, it really is an exciting thing so long as the investments are focused on long term growth in tandem with short term rebate-driven profits.

Pat Alexander thank you Pat. Yes, it is much needed investment for the town, which has suffered years of asset stripping. Let's hope it stimulates the economy long-term.

Pat Alexander here’s how it was covered in the local paper.