Producing

Willem Elzenga I don't ever prefer star-studded.

It's been such a joy to I’ve been fortunate in my career to work on a few projects where the series itself helped create the stars at the center. There’s always risk when you anchor something around a relatively unknown actor, but when the creative engine is strong and the performance is undeniable, the work breaks through the noise on its own- and audiences respond.

For me, it’s about the integrity of the casting strategy: pairing the best actor with the right creative vision. Sometimes that’s a marquee name. Sometimes it’s someone the world just hasn’t met yet.

Why is there risk when you anchor something around someone relatively unknown?

I'm not a producer, Ashley Renee Smith, but there's been times when I've disagreed with producers and directors about story ideas. I explained to them why the ideas didn't work. Explaining that and giving the producers and directors other options convinced them, but sometimes they still wanted to go with the ideas, and I wrote the scenes because ultimately, they were their projects.

You can put pretty much anything on your website. The issue I see with you using "custom laurels" is that it gives the impression to your website visitors is that you've won a number of awards when you haven't.

Thanks for your feedback!

The laurels I created are only for platform branding and curated selections — not to imply that I’ve won any awards.

I’ll make sure they are clearly labeled as ‘Itsbuz Productions Branding Laurels’ so there’s no confusion for visitors. Thanks for pointing it out!

Congratulations to you, Marc Nelson, the Got to be Certain team, and The Shed and The Garden! What's one benefit for a business when a filmmaker uses their location?

Thanks Maurice,

I'd say there are three main areas that a business can benefit from:

2. Behind-the-scenes content, rehearsal footage, and social media tags can drive foot traffic and online engagement.

3. It builds goodwill in the creative community, positioning the business as a supporter of the arts and local talent.

That's great, Marc Nelson! And I'm thinking the business might be open to the filmmaker making another movie there.

great points Marc Nelson - and good luck with the shoot! also - rehearsal time in the space is amazing, indeed

Very smart! Sebastian Tudores Locations is a unique element of production which can both massively expand production value, while at the same time provide immense savings done right. Well done!

I've been paying attention, Ashley Renee Smith. When I come up with a script idea, I see if it fits better in the U.S. or another country.

I think it means the next generation of producers should be open to making movies and shows here in the U.S. and globally, which means studying the industries in other countries.

What Maurice said. Plus - the desire for cross collaboration has become very evident in recent requests for TV Series and Feature screenplays. Another recent change is more major production companies reaching out.

Absolutely! Having a worldwide perspective has always been a part of my process of producing film and television. Having made films overseas and in the U.S. provides a broad knowledge base and experience. Major team-up for Lucky Chap and Mediawan - a powerhouse for entertainment. Bravo!

One documentary (90 minutes?) or a series? If it's one, you don't need a sr. producer. Just do it.

Yes. One 90 minute doc. Awesome to know, I appreciate the insight.

Bentley Hazelwood Perhaps you will drop in today or tomorrow on the online drop in. Would like to know more about your project.

The answers Jamil is giving are incredible! Don't miss the AMA, everyone!

I like that approach, Darrell Pennington. You could start by networking with like three people, then network with more people each day from there if you want.

"TV is controlled by showrunners (writer-producers) who write and create their own projects. They do not need anyone elses's ideas, my friend." That might be true, but I think a showrunner who's excited about your project would request your script/pitch material and maybe make the show.

Darrell Pennington You become a Showrunner and pitch your shows. It's that easy and that difficult. We spoke last month, I would be available again to discuss your trajectory in detail.

That would be great. I appreciate the offer. My wife and I head back to the States next week after having been in Europe for 14 months and don't head back out until early January so can I reach out to you after Thanksgiving to see what our schedules look like? Thanks again for such a generous offer.

hey Darrell Pennington ! a professor and friend of mine would always remind us to not be 'deterministic' - I keep that term close to me in a way we 'keep enemies closer' :)

having said that - It is indeed very challenging to sell a pilot directly or to set up your own show if you're from 'the outside' - but it depends on how you look at the function of your pilot and series pitch deck. at this stage I would think of it as : a sample to get repped; a sample to potentially get hired in a writing room or other projects; a “proof of concept” to attract producers who can stand in front of it and/or agents who can start building the package that you could not build on your own.

BUT writing a spec pilot is absolutely valuable - just start pitching it to targeted producers, managers, etc... - think of it as laddering up toward your goal. It is also just as likely that someone will love the concept and suggest it be adjusted for a feature, etc. I think the important thing is to let legit players start hearing about your project - best way forward. :)

Sebastian Tudores Thank you so much for that reply. That helps reset my strategic vision for a way forward. While I knew (and know) that this project becoming an aired series was always a long shot, after 3 years of working on it and getting such positive feedback on it in Coverage, live pitches, Double Recommend etc...I have started to 'believe' haha. Your insight and advice are very appreciated.

Thanks again for having me! Great to meet you, Sandra, and thanks to everyone who joined. Great times!

Sandra, thank you for moderating so smoothly! Michael’s webinar was wonderful, and your support really helped make it such a positive experience for everyone. It’s awesome to see the community engaging and learning together! Thank you James Lagrimas as well :)

Michael, thank you so much for leading such a fantastic webinar! It was great to have you with us, and your insights really resonated with everyone who joined. Loved seeing the energy and expertise you brought — hope to have you back again soon in early 2026 :)

It was a pleasure, Michael Wormser, and I really enjoyed it. All the best for your new project!

Thank you, Sydney S. I enjoyed this webinar, and it's a useful drive for anyone who wants to dive in as a line producer and work out their budget. Michael Wormser, has an amazing experience, and we are lucky to have him. Thank you for trusting in me.

Ron Newcomb For me, money is more of a life problem than a script problem.

Right now, I'm in the middle of another script, and I like it (though we'll see what I say in a week, haha). But there's a fear that there won't be a buyer, that it's not something that can be sold.

I always have these doubts because I've heard too many times things like 'we're looking to move away from horror' or similar.

Or is it just self-sabotage?

My current issue is finding an experienced collaborator to partner with for my scripts. I’m fairly new to the business end, so approaching experienced producers who may be interested in an LGBT Coming of age feature is the current goal for my endeavors. If you or anyone you know is interested, or is simply okay letting me practice pitching, let me know!

I really relate to what was said about the “dream factor”.

It’s true — behind every dream there’s years of work, and sometimes it’s sad to see great stories struggling, while the market is full of easy, noisy content.

But maybe that’s what keeps real artists going — the belief that depth still matters.

I still believe that meaningful stories always find their way to the screen — sooner or later.

I am not rich, and I need to make Nulla Productions a thing.

That will require my sister’s assistance as a former lawyer, and possibly finding a talent agency to join.

Welcome to the community, Yan Ju Zeng. Did you see Monday's blog? www.stage32.com/blog/november-write-club-week-2-insights-from-the-stage-...

Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry pros all over the world. Screenwriters, producers, directors, execs, and more. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

Stage 32 has a Community Open House on November 25th. It'll also help you navigate Stage 32 and connect with creatives and industry pros. You can sign up here: www.stage32.com/education/products/stage-32-s-november-community-open-ho...

There are a lot of screenwriters on here. You could make a collaboration post on the Job Board (www.stage32.com/find-jobs).

You could post your scripts on your profile. Producers search profiles for projects. That and networking are how I sold four short scripts to a producer. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.” You can also post your scripts on your profile this way: www.stage32.com/loglines (near the top where it says “Add a Logline”)