Producing : What Do You Look for in a Film Package? by Sandra Isabel Correia

I’d like to know the answer to this! I know in recent conversations w some producers they are definitely trying for the social impact. If it were me, I’d say the hook and how can the story make that impact.

As a nascent studios at Diamond Shadow Productions, the projects we are getting involved in uniformly have the following aspects: 1. First and foremost, are the rights sewn up? If there are co-writers or other IP owners who haven't signed off yet, we don't even look past a logline. 2. POCs and teasers are relevant ONLY if they have the actual talent and creative keys involved. Otherwise by definition it's a different project than the one being pitched. 3. If the script is good, then we talk and we 4. Canvass the willingness of the party to revise script to bring it into a budget we like, if that is required. If not, the discussion is over. 5. During that discussion we also assess whether the party is realistic about production matters including schedule and production values, and where it could go in the market. If we feel they are not of the right mindset, we pass. Production is too intensive to have to deal with unrealistic expectations and there are so many good projects out there (our own included) that we pass at the first red flag. 6. Cast depends on budget level. While "name" talent does garner some views, it's a myth that independent film needs it - audiences increasingly don't care, and the global audience never really did. And getting a "name" often comes with more than one person's compensation - it can also raise the costs of production across the board. So the real question is, are attachments appropriate to the story, can they carry a lead role, and can they be a good face for marketing? If it's your sister in the lead, we will be skeptical... 7. In other words we don't take your word for it - down the road, we'll have the cast read for us, we'll vet the creative team attached for ourselves. If there might be unreasonable resistance to our ideas, we will pass at that point. 8. Genre - we look always for a human story within genre of dark fantasy, scifi, thriller, horror. Unusual approaches are appreciated but not required, and we want very strong structure either way. We will do genres and formats outside those genres but the exceptions are because they are very compelling and unique stories (Like Uncharted Freedom, the series we are doing which wraps principal TODAY). 9. We don't do politics. So when you get into phrases like "socially responsible" and "social impact" our eyes turn backwards. If the story is a human story then it's by definition impactful and someone will want to see it. That's all we want to know - would we want to see it, and would someone else want to see it? So if characters are, for example, lgbt, that's fine, but if it wants to be a rainbow flag film, we don't do that. Aiming for any specific "social impact" by definition, in our opinion, ghettoizes a film into a specific political viewpoint. Medium and long term business outlook isn't served by being categorized, so we don't do it. 10. Having said that, one half of Diamond Shadow Productions, the Her Dragon label, focuses on female lead properties. But we don't pursue political statements beyond that choice.

Yes, Xochi Blymyer, exactly! That hook is everything. If it grabs you emotionally and opens the door to meaningful impact, that’s a powerful combo. For me, social impact has become more than a consideration; it’s a calling. Not just as a producer, but also as a screenwriter. I truly believe there’s so much creative and cultural space still open to explore in that area. It's my bet :)

This is a masterclass, Shadow Dragu-Mihai, Esq., Ipg. Thank you for sharing such a clear and grounded perspective. Your approach to rights, realism, and casting is razor-sharp, and I admire how you protect the integrity of your process.

For me, social impact has become a creative calling, not as a political statement, but as a way to explore human truth through storytelling. There’s still so much space to uncover in that realm, and I believe it can coexist beautifully with strong genre and structure. Appreciate your insight, thank you.

Bravo!

Sandra Isabel Correia Thank you, I appreciate that.

You are welcome Shadow Dragu-Mihai, Esq., Ipg.

Sandra Isabel Correia Yes, I agree so much and honestly it somewhat surprises my 'younger' self when I am in that self reflective mindset. At this age I am getting such a late start in the industry BUT I have recognized I was not ready, willing or able to tell the stories that I tell best until now. And every single story has some 'social responsibility' intent, not to 'persuade' necessarily, but to ensure that whatever imprint I am fortunate enough to leave is one with a positive message. Not a preachy or condescending or polemic perspective - just one of positive reinforcement for humanity. Who knew an old man could be such an idealist haha!

Darrell Pennington Filmmaking - by which I mean directing and writing - is not a young person's game. Unlike most other industries, you get better the older you get and youth almost always means naive, if not simply immature.

I agree with you Shadow Dragu-Mihai, Esq., Ipg :)) It's like Porto Wine :))

Darrell Pennington, we are never late. We are always at the perfect time. I, too, began two years ago, and my life experience allowed me to accomplish so much in such a short period of time. So, for me, it's the second half of life:)) It's never too late.

This is a wonderful topic, Sandra Isabel Correia! Yes, the pitches that come in. A lot of producers have different approaches or wants when it comes to this. My thing to look at is the genre and the logline. If those both sync up with what I think I can bring to market, I ask for the script and the lookbook. The script is the ultimate sales tool. For me to want to produce a project, I do need to fall in love with the script; or at least the story and ask the writer if they are willing to collaborate/take notes.

If a project has some financing in place or a piece of cast, that definitely helps as well. I tend to not take on projects that already have too many producers on board. Been burned too many times that way. Social impact is huge for me as well. Down to my core, I want to produce meaningful content. We all have the films we need to do in order to survive, but films with meaning that can also perform in the market... chef's kiss.

Sean Patrick Burke, thank you so much for sharing with us your strategy or what calls you more. Yes, each producer has its own approach. I really resonate with your approach. The emphasis on genre and logline as initial filters makes so much sense, especially when you're aligning with market viability and personal passion. I completely agree that the script is the heart of it all. And yes, having some financing or cast attached can definitely move the needle, but I appreciate your honesty about steering clear of overly crowded producing teams. That’s a lesson many of us learn the hard way. Most of all, I love what you said about social impact. Creating content that matters, that moves people and sparks conversation, is what drives me too. Striking that balance between meaning and market performance is the sweet spot we all strive for. Thanks again for your insight

I lean in when the core value of the story is unmistakable. Before cast attachments or budget ranges, I’m always asking: What is this really about emotionally, and why now? If that isn’t clear, the rest doesn’t matter. From there, I check for craft and voice. Is the writer in control of their storytelling, tone, and character? Is this a creative team I want to champion? Do our visions align? And importantly, do I see a realistic path forward in terms of budget, partners, and buyers?

For me, it always comes back to:

Clarity of intention + emotional resonance + a pathway to audience.

Laura Notarianni and Sean Patrick Burke - I am curious if your responses align in the same way with Television as with Features. Especially as it relates to bringing it to market - so assuming you have a script and story you love is the process similar for television. Also - what can a writer do that does sell a pilot to be included in the writing team for the series as a whole?

Darrell Pennington while they are very different with the approach to getting them made, for me personally, it is a similar way for me to want to sign on. I do look at TV very differently than films for the market. TV I like to look at existing IP or strong source material. Currently, all of our shows have excellent book or life rights.

I think being a writer in the writing room is a case by case situation. If the source material is dependent on the writer that created it, I am sure that plays a huge factor. I think just be transparent with your goals when going to shop it around is the key. You do have the power to turn down a deal if it isn't right for your goals although the ultimate goal is to get your show made.

If someone writes a super compelling piece with solid source material (hopefully solid existing IP), people will want to be a part of it.

Sean Patrick Burke Thank you for that insight, very helpful.

Thank you, Laura Notarianni, your vision resonated deeply with my vision also. I sincerely appreciate how you center emotional clarity and intention before anything else. That lens of “why now?” is such a powerful compass, and it resonates deeply with how I approach development as well. Craft and voice are everything, and when paired with a team whose vision aligns and a clear path to the audience, the package becomes more than viable; it becomes vital.

Your framework of clarity of intention + emotional resonance + a pathway to audience is a brilliant distillation. It’s a reminder that great storytelling isn’t just about what’s on the page, but what it stirs in us and how it connects outward. Thanks again for sharing your insight.

Thank you again, Sean Patrick Burke. TV and Films are different markets, so your vision is very helpful to all of us. Thank you.