Producing

Hey writers! We've just dropped a massive new batch of Open Writing Assignments (OWAs) with incredible opportunities to get your work seen, optioned, or to land a paid gig.

This week's list is stacked with industry heavyweights actively searching for their next project. Here’s a quick look at who’s looking and what they need:

FOR FEATURE FILMS:

High-Concept Horror & Thriller: A major film financier with a studio output deal seeks high-concept horror features in the $10-20M range. Also, a top literary manager and multiple production companies are seeking horror and thriller features.

Global & Budget-Conscious Films: An international production company is seeking clean, universal scripts for features under $5M-$10M in Crime, Thriller, Comedy, and Crime-Comedy (no horror).

Sci-Fi & Dystopian Worlds: A studio exec-turned-producer is looking for high-concept sci-fi features and TV pilots with near-future, dystopian, or utopian elements.

Dramas & Biopics: A literary manager seeks biopic features, and a development executive is looking for strong drama features budgeted under $10M.

A-List Commercial Projects: A production/sales company with over 300 films (including a Best Picture winner) seeks commercial thrillers and action movies ($5M-$50M budget) that can attract A-list talent.

Magical Realism & Unique Voices: A creative executive is specifically seeking feature scripts in the magical realism genre.

FOR TELEVISION:

TV Pilots of All Genres: Top literary managers and producers are actively seeking pilot scripts across horror, thriller, drama, comedy, and biopics.

PAID WRITING GIGS:

Hiring Now: A producer is hiring a writer to adapt a historical fiction thriller/drama book.

Script Doctoring: A paid OWA is looking for a comedy story editor for script doctoring on a financed project.

The OWA program is your direct line to these decision-makers. It’s more than just a submission portal; it’s a curated pathway to get your script on the right desk and kickstart your career.

Ready to submit? Go here to check out the new OWAs! https://www.stage32.com/writers-room

FREE Stage 32 Webcast: Stage 32 + SAGindie: Breaking Down the SAG-AFTRA Signatory Process for Indie Filmmakers

Register here: https://www.stage32.com/education/products/stage-32-x-sagindie-hiring-pr...

This is a must-watch for indie filmmakers and producers who want to work with professional actors under SAG-AFTRA but feel intimidated by the paperwork, costs, or confusion around Micro-Budget, Student, or Low Budget Agreements. This webinar will break it all down in a way that’s clear, accessible, and empowering.

Educators:

Colin McCormack, Communications Manager at SAGindie

Shefali Vasudevan, SAGindie team member and indie filmmaker

Together, they’ll guide attendees through the entire SAG-AFTRA signatory process, clarify common misconceptions, and offer real-world tips to keep indie projects compliant, professional, and on track. The webcast will also include a live Q&A, so that members can ask their specific questions.

See you there!

During a wide-ranging discussion at TIFF, NBCUniversal Chairman Donna Langley offered a candid look at where the industry is heading, and what producers should be paying attention to. From genre shifts to theatrical trends, Langley pulled back the curtain on what’s working, what’s changing, and why original storytelling still pays off.

One major takeaway? Horror is evolving and audiences are here for it. “Auteur directors turning to horror; it’s not the horror as we came to know over the last decade. The weirder, the better,” Langley said. “Horror is always a reflection of our times.”

Langley also highlighted the rise of experiential viewing, particularly among younger moviegoers, who are willing to pay premium prices for formats like 70MM and IMAX. “The Letterboxd generation” isn’t just watching, they’re returning, reviewing, and reshaping what success looks like in the modern theatrical landscape.

Read more here: https://deadline.com/2025/09/tiff-donna-langley-universal-1236510879/

With the audience shifting in real time, producers now face both challenges and major opportunities in shaping content that speaks to today’s viewers.

Tell us in the comments- what stands out to you most from the insights Donna shared? Does anything surprise or inspire you?

I'm a DoP looking to connect with producers in the UK and Europe in general. I've been working in Hollywood for nearly 20 years shooting films, documentaries and commercial content. I now want to bridge into Europe and also get back to my roots (Swiss-British).

I came across a recent post by Ted Hope (producer and exec with 25 Oscar noms/6 wins), which lays out some of the essentials for producing a film for under $300K. I have added a few of my own to this list as well, and I hope the result is something you can use when talking to potential financiers, and allow you to set yourself up for a possible return on investment.

Making a film under $300K is possible. But these are things to consider:

+ Hire skilled people in the right positions. Talent makes the difference, not money.

+ Don’t skip a solid line producer or budget controller. These roles are essential.

+ Avoid overlapping roles. A line producer doubling as 1st AD? A disaster waiting to happen.

+ Keep budget for post — especially editing. It always takes longer than expected.

+ Plan for festival & delivery costs. A sales agent won’t wait for your DCP to get funded.

+ Avoid going into production shoot full financing. Better to delay than crash mid-shoot. And if you can't avoid, plan your preproduction cut-off well, also for lowbudget films: cashflow is king

+ Get your paperwork in order: contracts, releases: your future sales depend on them.

+ Producers, pay yourselves something. Burnout is real and resentment is expensive.

+ Treat a low budget like real money. Protect deferments. Set a clear path to recoupment — because your micro-budget gem can sell.

+ Put some money aside for PR. Seriously... The fests aren't what they once were for lower-budget films, and if no one knows about your project, well, good luck! A good PR rep can get you in the trades, on podcasts, etc.

+ Start talking to distributors NOW!

+ Have fun! Remember, we're not curing cancer. We're just making movies. This is supposed to be fun.

A new set of exclusive Open Writing Assignments and writing opportunities is open for one more week posted, with industry leaders actively seeking projects and writers for immediate consideration.

These decision-makers come from companies with proven track records of #1 hits and Academy Award-winning films. They are not just browsing; they are ready to discover and develop their next great project.

Current Opportunities Include:

A Top Literary Manager (representing A-list writers) is searching for Horror/Thriller feature and pilot scripts.

Multiple Creative Executives from established production companies are seeking:

Horror Feature Films

Magical Realism Feature Films

A Development Executive is reviewing Drama Feature and Pilot scripts for projects budgeted under $10 million.

An Oscar-Winning Production Company/Sales Agency is acquiring commercial Thriller and Action projects with budgets of $5M-$50M that can attract A-list actors.

A Producer (with credits on A-list action thrillers) is hiring a writer for a paid adaptation of a Historical Fiction Thriller/Drama book.

Jump into the Writers' Room and explore these opportunities. Get your first month FREE and start submitting today!

https://www.stage32.com/writers-room

Hello my fellow Producers,

I wondered if any of you are going to attend the Screen Summit, at the BFI Southbank of Tuesday 30th, September.

It would be great to meet up with Stage 32 members, during the day.

Let me know how you are fixed.

https://www.screenfilmsummit.com/sessions

Good evening from Southern California. Has anyone ever hear of David Ready who claims to be a producer? I recently received an email from him saying that he wants to collaborate with me on a screenplay and he charges a $3,000 facilitation fee through a NDA. Regards, Lorenzo