Producing

... so said the marketing and techie brains on the second panel I attended at the Montclair Film Festival yesterday. Represented were YouTube Ads Marketing, Paramount Brand Studio (yes, there is a complete film studio just for 'branding' projects), and two other very impressive individuals guiding their companies through the new interest and engagement that big brands are exhibiting for the world of storytelling... excuse, I mean 'authentic' storytelling.

You should know from the start the two most spoken words were 'authentic' and 'creators' - brands are 'not becoming the new studios' but they are investing/financing a variety of narrative projects (films, series, multimedia) that they are hoping will produce "entertainment as culture ignition." Because of their much lower financial risk tolerance, they are instead partnering with studios to bring projects to market that achieve these objectives - easy & very successful example: Barbie.

A shifting paradigm mentioned by the CMO at Paramount and echoed by the other panelists is the strategy that the storytelling mediums for marketing are not just much wider, but that the particular story should live on all the mediums possible, shaped to max out that medium's capabilities. And, though not really something new to Stage32 members, the marketing mavens don't seem to care one way or another about the 'conventions' of genre or length or...anything, really. It's very organically "whatever works."

Brands may not act as studios, but this does mean more money available and looking for story projects to be be written and produced and distributed widely. Creatively it seems to be it's just a matter of alignment - as in 'the stars lining up' creatively.

And then there was the question of AI - I will summarize as follows. It's gonna be used. "Ethically' and 'with consideration' (whatever that means) but it did not seem that anyone was shying away from the idea that AI is here to stay and make continuous strides in many segments of this industry. Immersive tech was also a big thing - both AI and new and exciting immersive storytelling experiences are exactly what one would expect to hear being touted on a panel with YouTube and marketing and tech investors.

The question ahead is - what exactly will these cultural ignitions be and will it make a difference that this segment of storytelling/narrative projects is driven by brands as opposed to studios, independent filmmakers, and, you know, the 'conventional' peeps ;)

The floor is yours :)

PS: link to panelists: https://montclairfilm.org/events/stories-that-sell/

Hey, is anyone attending? I see Stage32 are a sponsor!

That's the kind of room I'd love to be in.

Has anyone been before? I mostly write rather than produce, but would love to learn that side also.

Micro-dramas: what are they exactly? In structure; production tempo; distribution frequency; profit potential; etc. What are the opportunities for independent producers? Or the challenges? Should you or should you not engage in a storytelling phenom that is currently valued at 6.5B dollars?

In 1946, Darryl F. Zanuck, the film producer and co-founder of 20th Century Fox, said "Television won't be able to hold on to any market it captures after the first six months. People will soon get tired of staring at a plywood box every night".

In 2025, Fox Entertainment commits to produce 200+ Vertical Video Series, including Micro-dramas.

There is no shortage of opinions on the development of this phenomenon - but no matter where one falls on the topic right now, we'll hopefully make more informed decisions than Zanuck did :)

I am moderating a webinar on this timely topic this Tuesday, Nov. 4th at 1pm PST right here on Stage32 - presented by Ammon Lyle, Senior Vice President of Originals and Partnerships at Mansa.

I hope all screenwriters on here will check it out because shaping the future of the industry and of storytelling requires that we first understand and are aware of the opportunities, challenges, and tools that these kinds of developments create - you can register for the webinar here: https://www.stage32.com/education/products/understanding-vertical-storyt...

To work up our appetite, check out this @stagerunnerla IG post about some new developments - and make sure you read the comments - they are an education in themselves on this topic ( https://shorturl.at/kuueX )

I look forward to hosting this webinar and to an engaging participation on the webinar's lounge post during and after the presentation! ( https://www.stage32.com/lounge/screenwriting/Understanding-Vertical-Stor... )

cheers

Every morning we're waking up to more and more and more activity that preps what signals to be a large increase in global production. I mentioned the huge building effort that's happening in New Jersey alone in one of my recent posts ( https://shorturl.at/9JF4J ) but here we see that Europe as well is responding, building not just for domestic demand but to absorb international (incl. U.S.) slates and enable cross-border co-financing/logistics. The article’s frame—projects “opened in the last year” or opening by end-2026— confirms in a way that this is happening now.

here's the TL;DR on the co-prod messaging from the article:

Barrandov (Czech Rep.) is adding stages “to better accommodate the increasing number of foreign productions,” with “strong interest from international studios and streaming platforms.”

Estonia’s Ida Hub states its “intention is to attract international productions,” noting active discussions “with interested parties from the US and Europe.”

Provence Studios (France) plans an LA-streets backlot because “a lot of productions want to shoot USA in France.”

Digbeth (UK) -- Steven Knight's studio -- positions itself so “if a US production wanted to come and base themselves here for a year they could.”

Eastbrook (UK), run by a global operator (MBS), touts stage scale/throughput and recent international series—i.e., plug-and-play for U.S. partners.

Europe has always had beautiful locations - now they'll have more and more beautiful 'stages' as well - how are your projects shaping to take advantage of the financial incentives combined with stage-based production?

Article link: https://www.thelocationguide.com/spotlight-report/spotlight-report-an-in...

For decades, Hollywood was the heart of show business. But the industry is changing. States like Georgia, New Jersey, and New Mexico are using massive tax incentives to lure in film and TV production, and it’s working. It’s sparked a billion-dollar bidding war that’s reshaping how and where movies get made. Some economists warn that it’s becoming a race to the bottom, but the truth is, an even bigger challenge is threatening the future of American film crews and the industry itself.

(https://www.youtube.com/watch?v=8Rat0QxvbSw)

Hi all,

I see that Stage32 sets up availability to pitch to producers for one's screenplay. They allow eight minutes for this.

I have heard that a two-three minute pitch is much better.... or even a 30 second - one minute pitch where you basically give the producer your logline in a more fleshed out presentation.

What has your experience been? What do you recommend?

Thank you!

Logline:

When 2 shape-shifting aliens arrive on Earth and pose as divine and superior beings, they upend humanity’s understanding of God, religion, and truth—fooling the world into choosing blind faith and erases the terrifying reality to rule human species for their own good.

Synopsis:

After fleeing their war-torn planet, a father-son alien duo chooses to land on Earth because hemoglobin is what they require to survive, which is present in human blood. Meanwhile, Pran(a 24 years young man), a rising rapper and viral artist, becomes a global sensation when his painting sells for $1 billion. The alien son’s ship crashes into Pran’s home. To survive, he kills Pran and absorbs his blood and brain using his tongue—a unique alien ability that lets him take on someone’s appearance by absorbing blood, while memory and intelligence by sucking the brain.

Masquerading as Pran, the alien enters the public spotlight and participates in a debate on the topic of existence of God, where he claims that alien ancestors engineered human intelligence and sent them to Earth as seekers of the true creator. His compelling argument sways public opinion immediately and sparks global controversy later.

However, Mason Brown, a skeptic and philosopher and a participant in the debate, challenges his claims. In a climactic and chilling finale, though Alien successfully convinces the mass audience to believe in his lies, overcoming Mason's enmity, after finishing the debate, Alien invades Mason’s home and kills him by sucking his blood—but this time, stomps on Mason’s brain, rejecting his mind and knowledge to preserve in him. The film ends on this haunting note.

The screenplay features 42 characters, with four central leads: the alien father, the alien son, Pran, and Mason Brown. It contains a 25 - page philosophical debate, one original rap song, action sequences, and strong social and religious commentary woven into a suspenseful sci-fi narrative.

Have you seen this news?

I just saw images of Arena SNK Studios, part of Saudi Arabia’s billion-dollar Hollywood investment, and it looks like something from another planet. Futuristic, massive, and very real.

This isn’t just about infrastructure. It’s a strategic move backed by sovereign wealth, gaming giants, and Hollywood veterans.

Here's the link: https://nofilmschool.com/saudi-arabia-movie-studio?utm_source=Beehiiv&ut...

So I want to ask:

What does this mean for us as producers? New doors? New risks? New rules?

With the success of Barbie and now the latest news from Deadline about Reese Witherspoon’s Hello Sunshine teaming up with Mattel and Amazon MGM Studios for a Polly Pocket movie starring Lily Collins, it’s clear that studios are continuing to invest in recognizable IP, from nostalgic toys to unexpected brands.

Read more about the project here:

https://deadline.com/2025/10/reese-witherspoon-polly-pocket-mattel-lily-...

It raises an interesting question for us as producers and creatives:

If you could launch a film or television franchise around any existing piece of IP, what would it be and why?

Would you bring a beloved childhood toy to life? Build a cinematic universe around a favorite soda brand or fast-food mascot? Or maybe adapt a video game, fashion label, or app into a prestige drama or wild genre film?

As we’ve seen with Barbie, Tetris, and Sonic, there’s real potential in blending recognizable brands with great storytelling.

So let’s talk:

What brand or piece of IP do you think has the makings of the next big franchise?

And how would you approach it to make it resonate with today’s audiences?

What do you want to know about unscripted production? Ask me here!

Our show Uncharted Freedom has officially wrapped principal photograph today!  In its wake, we are putting together a discussion and seminar on "unscripted" production. But we thought we'd open it up here to S32 members who have questions on the format. I have extensive experience in major unscripted shows in different formats, from Mob Wives and Jeff Ross Roasts America through Criss Angel Believe, Hell's Kitchen and American Ninja Warrior. It covers the entire process from development through delivery.I am one of the Showrunners on Uncharted Freedom along with Diamond Monique Washington.  So... what are you most curious about in the realm of unscripted or "reality" production? 

When we’re in production mode, our heads spin with cameras, talent, location logistics. And then—post wrap—we hope the distribution world will be a walk in the park. Spoiler: it rarely is.

As a producer I’ve learned this the hard way: the film doesn’t live solely in the edit room or on set—it lives in the marketplace. The sooner you bring your sales agent into the conversation, the smarter the route can become. Those productions that invited the sales agent in early - during packaging or development - ended up with clearer goals, smarter festival runs, and better conversations with buyers, or possibly even with a presale!

I've just read an article where sales agents urged filmmakers to shift the mindset: they’re not just place-holders, they’re strategic partners - and I agree 100%! Check it out in the link here:

https://www.screendaily.com/news/sales-agents-call-on-filmmakers-to-rega...

Let’s ignite a conversation: what’s your ideal moment to bring your sales agent on board? And what’s been the greatest value you’ve gotten from that relationship (or what you wish you had gotten)?