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A return to beloved franchises often feels like a rebirth. WHY? Because franchises serve as a blueprint for us --- both as film fans and as creatives.

In many ways, we trace our ancestry as film lovers to the franchises that first ignited our imaginations.

Had it not been for the honeyed allure of those beloved franchises, we might never have been inspired to craft the enchant worlds now taking shape in our screenplays on Stage 32.

Every creative began as a film fan. Who among Stage 32's 1,5 million-plus members can honestly deny this?

What truly stoked the fires of our enduring fascination with film? Undoubtedly, it was the captivating structure embedded within our favourite franchises --- the very thing that keeps us asking for an encore

The screenwriters who created those franchises possessed a profound understanding of film structure.

I believe that a screenwriter who prioritizes structure and demonstrates a deep understanding of both the emotional and psychological worlds of film fans --- the audience who are , ultimately, the primary stakeholders in the film industry.

Screenwriting is not driven solely by screenwriters, actors, producers, directors, sound engineers or make-up artists --- all play vital roles.

Fundamentally, screenwriting begins with acknowledging a simple truth: film fans --- the audience --- are the kings and queens who keep the turbines of the film industry spinning endlessly.

Put simply, no film fans, no franchises, no screenwriters, no producers, no directors, no industry ---- no beloved Stage 32.

In the final analysis, we must all admit --- even in our sleep --- that film fans possess a deathless appetite for beloved franchises, stories that resonate deeply with their emotional and psychological expectations. In GENESIS OF ESCHATOLOGY: THE DRINIDY which I co-wrote, the emotional and psychological expectations of our film fans play a major role in film structure to create a screaming franchise.

I have to revisit my old friend and make new ones because I believe I stopped after Scream 3.

Growing up the franchisees I gravited towards was scream, which I can not miss a beat, also final destination, as well as urban legends that one they must bring back, wrong turn is another franchise I use to like to watch now my favourite if fast and furious and Marvel next DC comics.

The Scream franchise and the spin off Scream-comedy movies are some of my favorites. I believe Scream played its part in shaping the market and how franchise movies would be presented throughout time, like many that have come before (e.g. Starwars). I'm one to say I love a good franchise. Cuddled up in front of the big screen with my favorite snacks on a rainy day is a great time to me. From Lord of the Rings, The Conjuring, and Harry Potter. However, franchises that are established to hold timeless quality like Stranger Things, It, and Jurassic Park or also notable mentions for their ability to stem far beyond novels, movies, and tv series but that evolve into full scale universes of merchandise, games, collaborations, partnerships, and immersive rides at Disney, Universal Studios. Beyond that, some of these high value IP franchises enable timeless nostalgia across generations. Movie to ride adaptions still have a large impact on my life today even though I experienced rides like Back 2 the Future, ET, and Backdraft when I was a kid growing up in California. The proximity of being around unlimited creativity and the environment walked by the stars kept my creative juices flowing and mind packed full of endless ideas. I'm sure things in California are far different than they were in the 90s.

I'd probably like to visit A Nightmare on Elm street with a modern reboot. However, aside from Freddy Krueger, I wouldn't use any of the other existing characters. I don't think you can replace the original Nancy and they already did a remake with the basic story.

The other option I'd like to do is a Friday the 13th film but with a more psychological take (as long as I retain everything that makes a Friday the 13th film) and a new protagonist who could potentially do as many as 2-3 films. I'd have to of course make the sure the first of those films actually works in a way that audiences accept it. Too many franchises look ahead without considering the first film actually works.

I do have ideas for actually do a miniseries that faithfully adapts the novel version of I Know What You Did Last Summer. There'd be changes to accommodate the modern day setting and deviating with a story that reduces a character to being hospitalized for much of it so that doesn't happen in my version. And also just having the four leads intermix more.

The only thing I think would stop me is the fact that the original novel isn't a slasher and people already have that at the back of their minds. Additionally, I'd have take into consideration that based on the box office returns past the first film and the fact that TV series didn't go beyond 1 season. I'm just not sure that IP has enough interest.

Olá Muda, seja bem-vindo

Muito obrigado pela calorosa recepção. Eu realmente aprecio isso.

Atualmente estou desenvolvendo um projeto internacional forte e estou ansioso para me conectar com produtores e colaboradores talentosos aqui no Stage 32.

Necessity is the mother of invention! Get mom on the phone!!

Never heard a financier or investor say "perfect" or "need more?" (although after trouncing my budget I did have a studio head once say "okay, add some back now.) Push back if possible, find other sources if necessary, find cuts if they exist (start with free locations.)

Some of the best advice that I’ve gotten when we need to reduce budget is often times there will be set pieces that will require you to be in open spaces and moving areas ( like a car, a restaurant, etc), bring those conversations into a contained space (like a living room) and you can drive down budget so quickly because it takes less time, set up and crew. Just really take a look and analyze your script and figure where you can hone in on that and you’ll be surprised that how much you could shave off your budget.

Great advice Amanda Toney! A pass at the script with those things in mind resulted in the removal of one driving shot and one restaurant location. Somehow, we also reduced the script by a 4/8 of a page! LOL! I'll take it! We also saved some money. It was a good pass.

congrats!!!

Jerry, way to GO! Here's wishing tremendous success for "Billy the Kid- Blood and Legend!"

Congratulations. Best of Luck

That's incredible! Good for you and good luck!

Awesome! Congratulations!!

great question Suzanne Bronson - for me, I look at my job as having to find a way to justify every word in the script as if ...well, as if someone WOULD say that lol sometimes I've worked with directors that gave me some flexibility but, frankly, I always try to make the script work.

But, as you pointed out, sometimes the writer does leave justification gaps and then it's a journey. I once worked on a scene from a play I absolutely loved but had major trouble finding the character. When we presented it, the teacher basically said our scene 'didn't work' (nice for 'it sucked') but he did add "It's not totally your fault - it is a very badly written play." I still don't know how to feel about that haha

I have done some bad plays myself Sebastian Tudores We, the cast, just embraced the suck. We had fun even though there was hardly anyone in the audience and just enjoyed being on stage. Had to believe in the imaginary circumstances, and stay present or it wouldn't have worked.

Suzanne Bronson, this is such an interesting question! I’ve heard many actors talk about approaching those moments by focusing on the intention behind the line rather than the exact phrasing. When the objective, emotion, or circumstance becomes clear, even unusual dialogue can start to feel more natural because you’re grounding it in the character’s need in that moment.

Suzanne Bronson "embraced the suck" is going in my directing lexicon! lol

My vision of motion picture art has driven me to create my own writers slate with over 30 projects ready for pitching and production.

I love this era of cars and car racing. Would love to a see mock trailer or proof of concept.

Nikolay Tsenov I think it would be of interest to the audience.

Abhijeet Aade Hi Abhijeet, thank you so much for your thoughtful feedback! It’s encouraging to hear that the blend of the Eastern Front's brutality and the Noir atmosphere resonates with you.I appreciate your perspective on global stories; it’s definitely a driving force for this script.

Shadow Dragu-Mihai, thank you! I’m really glad to hear you think it would resonate with an audience.

Finding that balance between the historical weight of the Eastern Front and the tension of a Noir thriller has been a challenging but rewarding process. To raise the stakes even further, the brothers’ mission involves navigating the highest levels of power—even orchestrating moves to influence the U.S. President himself as a pawn to achieve their ends against the USSR.

Nikolay Tsenov You're very welcome! I'm glad my feedback was helpful. The concept really stood out to me the blend of the Eastern Front history with a noir atmosphere feels very unique and cinematic. I’m excited to see how the project develops. Wishing you the best with the script and its journey!

Okay, with more info now, I would call the story a spy drama, not a war movie.

What makes it noir usually has to do with a doomed protagonist making bad decisions, usually involving money or a love interest (femme fatale). Then they lose in the end. Crime doesn’t pay.

The best overview of noir I can recommend is this episode of American Cinema:

https://youtu.be/X_igf5EzU8A?si=FsnsN431UjyDWxNp

Robin Gregory Congratulations, Robin! That’s a fantastic achievement. Wishing The Improbable Wonders of Moojie Littleman great success at the New Media Film Festival. Always inspiring to see projects reaching festivals.

Abhijeet Aade Thank you so much for the support. It goes a long way in this biz. Take care, and keep being amazing!

Robin Gregory You're very welcome! I'm glad to support fellow creatives. Wishing you continued success with the project and looking forward to seeing more of your work. Take care!

Congratulations Robin!

Congratulations Robin! That is fantastic news... I sincerely hope you get your film made!!!

Thunder Levin One of the producers was Australian, and for him it was a tax issue that I don’t live there. In the other case, I’m not sure what happened, because after I replied to him, he never responded again.

Otherwise, yes, I’ve talked to quite a lot of writers through social media, but from a small town in Hungary networking definitely starts from a bit of a disadvantage. From your experience about meeting people at parties, it seems like it might be time for me to take out my party dress too.

Thunder - I REALLY appreciate your advice - and thank you with all my heart for your insight. I shall do as you say - see the bigger picture, and offer up the IP rather than suffer the pressure and the heartache - Much appreciated.

I would be happy to send you my first ten pages of the third novel script? Please let me know how I can do that. It would benefit me greatly - as I need to produce a full script soon, if my first novel TV pitch is double recommended.

Can you help me break in as a writer in industry?

Beverly Thompson Hi Beverly, you can submit a first ten page request here: https://www.stage32.com/scriptservices/coverage/buy?id=20 Just look for Thunder's name under the genre categories.

hope it all works out! have a great day

me neither man!

Amazing Justin Groats things are going great for you! Good for you!

Good stuff Justin Groats, congrats!