Producing

Well, any of us might be looking for something on a given theme - but it's the storyline that is what is being bought.

Thank you very much, I understand.

I think what’s most important is how those two elements are blended into a fresh, unique form. without both working in unison, scripts get muddy.

Aleksandr, that's a great question! I think both matter, but storyline is usually what hooks people first. The best scripts weave theme seamlessly into the narrative—when theme and storyline work together naturally, that's when magic happens!

I am not aware of any blowback. But I honestly don't know that "inspired by real events" is or is not an actual selling point in any promo.

It has been suggested a few times that I put that reference in on the cover page of the pilot.

This is such an inspiring update, Marc Nelson, congratulations on taking that leap and turning your story into a film with real purpose behind it. Alive sounds deeply personal and incredibly meaningful, especially with its focus on men’s mental health. That kind of vulnerability and honesty can make a huge impact on audiences.

Your point about transferable skills and calculated risk is spot on, producing requires the same courage and strategic thinking as any other business, just applied to storytelling. I hope you’ll keep sharing updates on your journey as production moves forward.

Thanks Ashley. I'm excited to bring it to life. I've setup an Instagram account that will provide updates and photos etc. Search for doublesixproductions.ig and follow us.

As a side note (probably something bigger than a side note actually) I am producing another film. A 30 minute film called Got to be Certain. An aspiring artist falls for both the lead singer and a bisexual drummer of a band. Great music soundtrack (originally Kylie Minogue but changed due to licencing costs). This is a shirt film based on a feature film I have written. We had over 80 applications for the roles. We are down to a shortlist now, and a few have performed a self tape audition based on scenes from the film. It was amazing to see them played out.

Onward and upwards and enjoy the journey.

a great initiative, it will definitely be a film full of emotions. I wish you success, it will be nice to see it.

So inspiring to hear from others taking chances in promoting their creative dreams. It's not aways an easy decision to make. Hope to hear more about upcoming projects as they develop.

That was a fascinating read, Richard "RB" Botto, it really highlights how much strategy and trust go into landing a project of that scale. Rothman’s ability to understand what Tarantino needed creatively, while structuring a deal that prioritized artistic freedom, feels like a masterclass in producer–filmmaker collaboration. It’s a reminder that strong relationships and a genuine respect for the creative vision can still win out, even in a highly competitive studio landscape.

"It’s a reminder that strong relationships and a genuine respect for the creative vision can still win out, even in a highly competitive studio landscape."

This is a great takeaway. And you're spot on about Rothman. He understood both sides of this coin beautifully and delivered on all fronts.

It's terrible that there are going to be layoffs, Ashley Renee Smith. "What do you think these changes mean for the future of producing, especially for independent filmmakers navigating a studio system that’s shrinking at the top?" I think agile indie producers will fill the creative and production gaps left behind like you said, but I also think some producers will look for other opportunities outside of film, like indie vertical dramas and audio dramas.

The mainstream industry continues in free fall... Where will it all land? My team is moving fast so as to take advantage of the changes, and not be crushed when the major studios finally hit the ground.

I agree, Maurice Vaughan. The ripple effects of these kinds of corporate shifts often create both challenges and opportunities. Agile indie producers have the flexibility to move fast, take creative risks, and explore formats that big studios can’t pivot toward as easily.

I think you’re right that we’ll see more producers experimenting with spaces like vertical storytelling, audio dramas, and other hybrid formats that merge traditional film sensibilities with digital-first distribution. It’s an exciting (and uncertain) time, but those who can adapt and innovate will shape what the next phase of independent production looks like.

Shadow Dragu-Mihai, Esq., Ipg The shake-up at the top is definitely unsettling, but it’s also creating real space for independent teams to move in with fresh ideas and streamlined production models.

That's a lot of films for one country, Sandra Isabel Correia! Maybe the population plays a part. More people, more filmmakers, writers, etc., more movies.

Can you imagine that, Maurice Vaughan? 2,500 films it's "insane," but yes, their population is also giant. I found it interesting; thats why I shared :)

I think Netflix should lean harder into Comedy podcasts as part of its long-term streaming strategy, Ashley Renee Smith. Comedy is huge! It's what I mainly watch during breaks and at the end of a long day, and I'm open to listening to Comedy podcasts during breaks and at the end of long days.

I get why some folks are skeptical of Netflix’s new podcast move — they risk sidelining comedy creators and “big names” in favor of formats that just drive repeat engagement. That said, this shift feels like they want to capture ambient attention (you know, low-effort viewing). On a different note, there are parallels here with gambling entertainment: engagement matters more than depth. If you ever want to see where that model leads, check out aquawin casino sign in via — it’s a site built for constant micro‑interaction.

First, thank you, Maurice, for all your help. While yes, I can upload my pitch deck in the designated spot for a screenplay, and yes, the file name does contain “pitch deck,” the icon/link that redirects a producer, (anyone) to the file literally says “View Screenplay.” which doesn’t make a lick of bloody sense. I'm sorry but this really irks me.

You're welcome, Kevin Hoyer. It's because Stage 32 mainly encourages members to add screenplays to their profiles. You could put a note in the synopsis area like I do saying the file that's attached is a pitch deck.

Welcome back, Kevin!

Your project sounds interesting. Great timing too, as period horror has been performing well.

I'd recommend targeting producers who've done 1980s period pieces OR psychological horror in the 5-10M budget range (I'm guessing that's your sweet spot based on the genre/period). You could also submit to screenwriting competitions to connect with producers in the horror genre.

Email me and the team at success@stage32.com and we'll match you with the right execs/producers and share opportunities that would be a good fit for your project.

Thank you, Geoffroy. I believe I was speaking (emailing) with Pat A(lexander) earlier today. I’ll ask him to forward my information to you. Please let me know if you need any additional information.

And once again, thank you, Maurice, for being patient with me.

You're welcome, Kevin Hoyer. Hope you find a producer for your script!

You can still sign up here: https://www.stage32.com/education/products/introduction-to-movie-magic-s...

Looking forward to learning from Michael Bishop today!

Great opportunity to learn the craft of the Assistant Director and Line Producer in creating a shooting schedule, the basis of the shoot and creating the budget.

Can you create the scene breakdown spreadsheet & location breakdown in Final Draft? Or Celtx?

Do you prioritize shooting various scenes at the same location?

Or do you prioritize shooting night scenes together?

Or group scenes with a certain group of actors (so some can go home)…

Which scene grouping is typically most economical?

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