Producing

Independent producers now have access to a major new set of resources designed to strengthen workplace safety and prevent harassment on set. The Anita Hill-led Hollywood Commission has officially released a comprehensive toolkit as part of its Respect on Set initiative, created specifically for indie productions and developed in partnership with INDIE, IATSE’s harassment-prevention committee for low-budget filmmakers.

Read the full article here: https://deadline.com/2025/11/hollywood-commission-workplace-safety-indie...

The toolkit includes:

• Sample codes of conduct

• Customizable policy templates

• Pre-production audit and implementation checklists

• Communication tools

• Training materials

• Practical guidance for fulfilling responsibilities under IATSE’s Low Budget Agreement (covering films under $15M)

These resources are aimed at helping independent producers build safe, accountable, and supportive environments from prep through post, especially as the LBA now requires multiple non-union avenues for reporting harassment or abusive conduct.

INDIE leaders Jeanette Volturno, Monica Levinson, and Bart Rosenblatt noted that this is “the resource independent producers have been asking for,” while IATSE International President Matthew D. Loeb emphasized that preventing abuse depends on “continued vigilance” and clear, consistent practices.

For many low-budget teams that don’t have access to studio-level infrastructure, this toolkit could mark a meaningful shift in how safety standards are implemented across independent film.

Producers, how are you approaching on-set safety in your own productions, and what additional tools do you wish existed to support you and your teams?

Hello!

I have been using StudioBinder on a few projects and generally liking it, although budgeting is yet to be integrated. I know several other platforms (e.g., Yamdu) do have budgeting, while others like Causality from Hollywood Camera Work looks like it's revving up to do EVERYTHING! :) [ I use Causality for story dev and screenwriting ]

has anyone had any experience with any of these platforms? Any favorites?

cheers!

Hello, awhile back on the Netflix webinar it was mentioned that an attorney is able to contact an acquisitions executive to open the door to pitch the producer's project. So, I wanted to know if anyone here has done that and how successful was that process.

The list below is very interesting as it represents movies that were quite a success but didn't have any well known names in it at the time.

The Blair Witch Project

Slumdog Millionaire

City of God

American Beauty

Once

Amélie

Mad Max

The Full Monty

Whiplash

Moonlight

Looking at your own projects, would you prefer star-studded and why?

The short-film landscape is full of creative talent, but monetization often lags behind. One model that could change this is the combination of art certificates and auction-based sales.

- Each short film is issued a unique digital “Art Certificate”

A cryptographically secured certificate (not hype-driven NFTs, but professionally validated digital provenance) acts as proof of authenticity, ownership, and edition count. This elevates the film from “content” to “collectible.”

- Limited editions, just like fine art prints

A filmmaker could release, for example, 20 certified editions of their short film—each with its own number, rights bundle, and added value such as behind-the-scenes access, exclusive cuts, or festival screening rights.

- Auctions introduce real market dynamics

Instead of flat licensing fees, sales could happen through curated, film-focused auction platforms. Collectors, cultural institutions, distributors, and brands could bid on editions, driving value through demand rather than fixed pricing.

- Resale royalties ensure long-term revenue

Just as artists receive royalties on resold artworks (in several countries), filmmakers could automatically earn a percentage every time a certified edition changes hands.

- Cultural positioning

This reframes the short film as a cultural asset, not just a stepping stone. It creates a space where films are collected, traded, and valued for their artistic significance.

For investors and collectors, it offers a way to support creators while owning a unique part of film culture.

https://chatgpt.com/s/m_691cae33e5788191b35f13b5a0fde10a

If you’re interested in the collaborative (and occasionally combative) realities of running a TV series, this interview with creator Erin Foster and showrunner Jenni Konner is a must-watch.

Watch the full conversation here: https://www.youtube.com/watch?v=52HXycTY76Q

Warning: This video contains spoilers.

The pair break down some of Season 2’s biggest creative decisions and reveal where they strongly disagreed — including one major turning point involving the season’s romantic arc. They talk openly about why they fought for their preferred versions, how they ultimately resolved it, and why the final choice works for the story.

They also unpack another surprising behind-the-scenes moment: a pivotal emotional scene that didn’t feel right in the edit, prompting them to rewrite and reshoot it an entire month after production wrapped. As they explain, it became one of the most meaningful moments of the season, proving how essential flexibility and instinct are in the finishing stages.

The discussion dives into:

• How producers weigh chemistry, character arcs, and audience expectation

• When to follow the room’s instincts vs. hold your ground

• Why reshoots can be the difference between “fine” and resonant

• Managing story tension without boxing characters into corners

• How Season 2 mirrors and reverses Season 1’s emotional beats

Season 2 of Nobody Wants This is now streaming on Netflix, but this conversation stands on its own as a fascinating look at producing decisions in action.

Producers, what’s your approach when you and your creative partner fundamentally disagree on an ending or major story choice? How do you navigate it?

Hi, I run Itsbuz Productions – The Rating Tales, which is my own registered brand/trademark.

I have created some custom laurels for branding, curated selections, and showcase presentations on my website. These laurels are not festival or award laurels — they are only for my platform’s branding and for highlighting curated films.

Can I use these custom laurels on my website and social media for branding purposes?

Are there any rules or restrictions I should follow to ensure this remains compliant?

Just want to confirm before using them officially. Thanks!

Margot Robbie’s production company, LuckyChap Entertainment, is officially expanding its global footprint with the launch of LuckyChap International, a brand-new film and television company based in London, in partnership with Mediawan Group, one of Europe’s leading independent studios.

Read the full article here: https://deadline.com/2025/11/luckychap-international-venture-mediawan-gr...

This new venture will be led by powerhouse sisters Mona Qureshi (formerly Netflix UK) and Tanya Qureshi (formerly BBC), both bringing years of experience producing acclaimed series like I May Destroy You, The Night Manager, and This Is Going to Hurt. Together, they’ll focus on creator-driven, globally minded storytelling across film and TV, all while strengthening LuckyChap’s presence throughout the UK and Europe.

The partnership is a strategic move that positions LuckyChap to take advantage of the region’s robust co-production and funding opportunities, proving once again that thinking globally isn’t just smart business, it’s the future of filmmaking.

With more production companies following LuckyChap’s lead and building international partnerships, what do you think this means for the next generation of producers? How are you approaching global opportunities in your own projects or collaborations?

I’m building the creative team for my first documentary and I’ve learned quickly that finding the right producer feels a lot like casting the lead.

For anyone who've been through it — how did you know you found ‘the one’?

Awesome and free Ask-Me-Anything with Jamil Akim O’Quinn happening right now into tomorrow AM in the Screenwriting lounge - a SCREENWRITER & series episodes PRODUCER with a fascinating background answering your questions about the business side of the work.

Professionally, Jamil has served as a researcher on THE EQUALIZER, a writers’ assistant on NCIS: LOS ANGELES, and co-wrote/produced episode 1414 (“Shame”). Most recently, he was staffed on Season 8 of S.W.A.T., where he wrote and produced episode 810 (“The Heights”), now streaming on Paramount and Netflix.

JOIN IN to get answers from the trenches! Visit the AM here: https://www.stage32.com/lounge/screenwriting/Ask-Me-Anything-AMA-11-14-t...

I have been on Stage 32 for about 3 months, and it has been fantastic, much more productive than I could have ever imagined. Of course, my lack of patience is an enemy, and then self-doubt starts to rear its head as well.

I have put in a pretty regimented approach - spend 5 days a week networking here (I am traveling the world researching for my projects, so in-person networking not practical for me right now) and spend 6 days a week on writing/creating/etc....

During my daily networking I sent a message to another writer on here and got this response:

As a former literary agent, spec TV pilots rarely work. TV is controlled by showrunners (writer-producers) who write and create their own projects. They do not need anyone elses's ideas, my friend.

Nothing wrong with this response, in fact it might be what I need to hear, but I will admit my first response was a bit of a defeatist response internally. I asked back 'so, how does a new writer break into TV'.

No response yet but I pose that question to others on here, especially TV producers.

Is it realistic for someone outside of established writers/producers to have a TV show that they can get on air?