Producing

I'm in pre-pre production of a holocaust film called "The Final Solution,"

Logline:

A Nazi officer races to save his wife and children after they’re mistakenly sent to Treblinka—forcing him to navigate the hell he helped create and confront the brutal truths of his ideology before it consumes them all.

Tagline:

They thought their blood was pure. The camp showed them it wasn’t.

I have some good actors for some key roles, but for one of the three lead roles I need to find an A-list actor, and besides the director and the minority producers I have, I need to find a producer that can make things happen, maybe this latest version of the script IS Vadim Perelman's " cup of tea",we'll see. At least the director finally thinks the script is up to par, that's something, isn't it? I have enough producer connections to make this movie several times, but nobody wants to play ball yet; of course, if I find an A-lister, that will change. Who said producing is fun? Nothing is more frustrating! So let's do some advertising.

I just came out of a 48 hour film project competition, we had to do a short film in 48 hours and it as hectic. The body takes a hit after the energy rush subsided. I'm busy with two projects at the same time. Both of them are in Pre-Production. The one is scheduled to shoot in July and the other one in August. So my world is kind of crazy at the moment

I am developing a range of English language YouTube series projects for a Peace organisation in the Netherlands. While (co)producing their video podcast. Also working on the casting of a feature film in the UK.

Sam Sokolow we're looking for someone in LA or New York. We'll be shooting in Oklahoma, so we'll get a local CD there for the rest of the roles, but we need someone with strong industry connections.

Randall Scott White thank you! I appreciate the offer.

Rebecca James agents in LA and New York aren't as friendly as agents in Australia. I know that because our lead actor is Australian and his reps are very helpful. I do have some managers here that are helpful, but I don't want to ask them for reasons I won't get into here. Thanks for the suggestion, though.

Maureen Mahon We do all casting in-house. If as you say there is some solid money involved, there is...literally.... no rep who will not talk to us. If you still need some assistance here, DM me here and we can talk direct. We are in Los Angeles.

Maureen Mahon Judy Henderson ( https://www.imdb.me/judyhenderson ); David Guglielmo ( https://www.imdb.me/davidguglielmo ) rated on skill and good-old nice people :) but some of this choice depends on what type of project you're working with. Good luck with the offers!

That's great advice, Ashley Renee Smith. "Make sure people think about you at least 8 times a year.”

I stay top-of-mind by doing things like being active in the Stage 32 Lounges and Blogs, staying in contact with people, and pitching projects on social media (like First Page Friday).

Tiffany's the best! Wonderful advice, one of our favorite Stage 32 educators!

Agreed, Sydney S - Tiffany is brilliant and so generous with her knowledge. She always gives advice worth listening to and does so here again.

Ashley Renee Smith & Sydney S - took Tiffany's Pitch Deck Development Lab recently & can confirm her generosity AND practical substance of guidance and info and time.

Can you explain more about the services, benefits to customers, and the market advantages of going that route?

It would be an integrated service and as a result customers would be able to get more services from one service provider, thus it would be cheaper. It would also avail customers access to services they might have ordinarily overlooked due to the size of the budget.

You need to clearly explain things here, Nky. You mention "integrated service" and then "service provider" then "access to services". All the studios here in the US can handle any size production with existing internal departments: development, physical production, post-production, music, VFX, legal, marketing, distribution, accounting, and so on. Often times a studio will have two separate areas: one for bigger budget movies, and one for the lower budget, indie films (while indie the studio will be involved in some way for the acquisition or distribution before it's completed). Great example is 20th Century Fox and Fox Searchlight.

The idea of integrated services is great, Nky Otike Odibi - the overhead associated with all of the services tends to result in a need for bigger volume, and thus the studio paradigm that Lindbergh E Hollingsworth refernces. That said, Steve Jobs never invented anything, he took other people's inventions and brought them together into something more usuable and efficient. Aggregrating exisitng services for smaller films by independent providers would certianly help some smaller budget films.

Sam Sokolow Lindbergh E Hollingsworth thanks for engaging. What I am referring to is a company or service that offers all or most of the services listed as a bundled or a la carte services to independent producers whose films are not distributed or produced by the major studios. Thus the studio services but for independent films. Hope this makes sense.

I produce out of necessity, the same as writing. I'm very good at bringing people in, running a set, but I'm not an operator, there are way more talented people than me at sourcing the pieces of the puzzle. I'm great at putting the puzzle together. So I am always grateful to have a producer helping me out

Amazing answer and perspective, Seun Arowojolu. I love your POV on protecting the soul of the story.

I love that Seun Arowojolu “ it’s always about protecting the soul of the story”. In this words you said everything and I sign behind you. Thank you for sharing so deep thinking.

You are the leader Jorge Parente, that’s what leaders do. Usually, leaders are good producers and I bet you are amazing producing :)) Production is al about management:))

Like wise my good friend Sam Sokolow, I loved that also about Seun Arowojolu :)) Big hug for you Sam and have a great weekend.

Beautiful Sandra Isabel Correia How are you doing?

Hey Elmare Hendricks Great topic that gets to the heart of successful film production! Team assembly is often where great scripts either come alive or fall apart, and each approach has distinct advantages depending on your project's scope and budget.

The Hybrid Approach Works Best:

Most successful productions use a combination of all three methods strategically:

Your Core Team (People You Know):

- Key department heads you trust completely - DP, editor, sound designer

- Collaborators with proven chemistry who understand your creative vision

- Reliable professionals who'll problem-solve when challenges arise

Casting Agencies/Professional Services:

- Lead roles that require specific skills or name recognition

- SAG talent when you need union actors

- Specialized crew positions (stunt coordinators, VFX supervisors) requiring specific expertise

Word of Mouth/Networking:

- Emerging talent hungry to prove themselves

- Local crew who know the area and can work within budget

- Recent film school graduates with current technical knowledge and enthusiasm

Strategic Considerations:

-- Budget Allocation: Spend your money where it matters most - usually lead actors and key technical positions that directly impact quality.

-- Project Requirements: A contained drama needs different team assembly than an action thriller or period piece.

-- Timeline Pressures: Known collaborators work faster because they understand your communication style.

-- Creative Chemistry: Sometimes the most qualified person isn't the right fit for your specific project's energy.

What's your experience been with different assembly approaches? Any surprising successes or lessons learned?

Elmare Hendricks

I believe in discovering new stars.

In 2016, while casting The Last Broadcast — a film set during the 1956 Hungarian Revolution — I couldn’t find the right lead through agencies or open calls. So I searched through thousands of profile pictures myself. Then I saw him. I didn’t know if he was an actor, but I messaged him.

He replied: he was an actor, and this role was his dream. We met, he admitted he might not “fit” the usual mold — but I asked, “Can you play it?” He said, “Yes.”

He belonged in Hollywood. And so did others I found this way.

My advice: don’t just cast actors — cast stars.

Even in big films, giving unknowns a real chance creates magic. They give everything — and audiences feel it.

Patrick Kovács apologies for my late reply, I was finishing off a project. I love your method of going about your projects and how you took time and did your research in how you went about casting your talent. your heart is surely in this , i can tell. all the best with the projects that you are working on

No worries, Elmare, thanks for your message! :)

I think the best advice a filmmaker can get is: "You are the first audience."

When you're writing or making the film and you see the world come alive — that's you being the first to experience it.

And hey, surprising the audience is always a good thing, right? ;)

Production rollercoaster. Hey, Michael Fitzer. I like to use the unique things about locations and things in the locations to come up with scenes for my scripts.

Second Avatar is really good, but first one is the best Maurice Vaughan. Now, I am waiting for the third. You must watch. Batman of course:)) there are so many :))

Wow Alana Koster, now you are ready for 28 Years Later :))

That’s a magnificent program for tomorrow Ashley Renee Smith :)) Let us know your opinion about 28 Years Later :))

i love the poster!

Me too Seun Arowojolu :))

Thank you for sharing Xochi Blymyer

Thank you for sharing, very insightful

What an inspiring creative journey you've shared! Starting screenwriting at 62 with such clarity of purpose and authentic voice is genuinely remarkable. Your late-in-life ADHD diagnosis and treatment unlocking decades of stored ideas is a powerful testament to the fact that creative breakthroughs can happen at any stage of life.

Your Unique Strengths

Life Experience as Creative Fuel: Your decades in sales across Queensland, meeting diverse people and collecting their voices, gives you authentic character development that many younger writers struggle to achieve. That's invaluable source material that can't be taught or faked.

Fresh Perspective: The film industry desperately needs voices that aren't shaped by film school conventions. Your "intuitive rather than academic" approach can produce more original, emotionally honest storytelling.

Timely Subject Matter: An action thriller set in Antarctica exploring climate change and geopolitical tensions is incredibly relevant. Environmental thrillers are gaining significant industry attention, especially with international scope.

Australian Advantage: Australian productions with international appeal have strong support through government funding and international co-production treaties. Your location gives you access to resources many writers don't have.

Strategic Next Steps:

Professional Development: Consider connecting with Screen Australia and Screen Queensland for funding opportunities and development programs specifically designed for emerging writers.

Industry Feedback: Getting professional script coverage will help identify any structural areas to strengthen before pitching.

Local Connections: Australia has a robust emerging film community. Networking with local producers who understand international co-production could be invaluable.

Your belief in cinema's power to "provoke thought, ignite emotion, and spark change" comes through clearly in your writing approach.That authenticity, combined with your unique life experience, positions you well for industry success.

The world needs stories from voices like yours - don't let industry inexperience discourage you. Your perspective is exactly what makes compelling cinema.

Congratulations on stepping into the world of filmmaking, Mark Minnis!

I tried to produce two feature films way back, and I made a lot of mistakes because I didn't have webinars, classes, blogs, books, etc. on producing. I suggest checking out the Producing Education and Blogs Stage 32 has.

Producing Education: www.stage32.com/education/search?term=Producing

Producing Blogs: www.stage32.com/blog/tags/producing-22

Mark Minnis Best advice: careful and get direct (ie. personal and private) opinions from people who have paid for services before spending your money on anything at all. Above all, don't fall into the trap of thinking that screenwriting contests are important - they are not, except for your fun.

I love your journey, this is absolutely amazing. please see all the resources available, for assistance