Working on my epic space‑odyssey feature and wanted to open a conversation about scope.
I’m deep into a project that keeps oscillating between trilogy, limited series, or single prestige epic. The architecture underneath supports all three, but right now I’m leaning into the feature form and letting it breathe. That means I’m not sweating the page count — it’s landing in the 180–200 page range, and I’m giving it the space it needs.
I’m not showing it to anyone yet. I’m focused on building credit, sharpening the craft, and getting the world and cosmology airtight before it ever hits a desk. I have the time to write, so I’m taking it.
Curious how others here feel about scope, page count, and plot density when you’re working on something intentionally epic.
Do you let the story dictate the size?
Or do you force it into a format early?
Would love to hear how other writers approach the “too big for one box” problem.
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Great question Jason Green. I have a couple that are like that - big scope. And the feedback I've received is to focus on the first one as a feature and make it as complete as possible, but not long. I hear a repeated saying that 120 is too long. Personally, I miss the days of the 3-hour movie and I don't mind them one bit. But producers out there say 120 max. I'm a feature guy so I'm always going to vote for the feature unless there's too much to tell in a trilogy. You're wise not to show it to anyone until it's sharp.
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Leonardo Ramirez I mean, Kingdom of Heaven, says it all.
It does Jason Green. In a colossal way.
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Jason Green , as a fellow creative, I think you just hunker down and get to story on the page in what you feel is the best way possible. If that ends up being 200 pages, then you take a step back and figure out where you want to go next. As a former studio exec, Leonardo is right. It's never a good idea to submit a 140+ page feature, unless you're Christopher Nolan, Denis Villeneuve, or someone of that stature. And if you're in the process of hoping to break in, get representation, etc., then keeping it under 120 is a sound strategic choice. There is no worse feeling than opening a 120+ page script by an unknown writer when you've got 8 scripts to read over the weekend. It's a really quick way to discourage a full read and have execs bail by page 30.
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My advice: finish this draft, then put it aside and write a much tighter second script as your calling card. That smaller script earns you the right to hand someone your epic. Have you written anything at a more commercial length?
Sam Rivera Josh Reinhold Appreciate the advice. I’m not planning to take this one out for a long while — I’ve got several other scripts on the festival circuit right now and I’m building my slate across sci‑fi, horror, and a war miniseries.
This project is my big swing. I’m intentionally taking it out of my usual wheelhouse — not so much about fear this time, but about inevitability in a way that feels almost comforting.
I already know it’s going to break 120, and I’m totally fine cutting when the time comes. But for this one, I’m letting myself write without watching page numbers and seeing where the story actually wants to go.