Filmmaking / Directing

What makes a perfect sci-fi thriller? Is it the tension? The worldbuilding? The emotional punch that keeps you thinking long after the credits roll?

CBR just released a great roundup of 10 sci-fi thrillers that get it right from beginning to end, from genre-defining classics like Blade Runner and Invasion of the Body Snatchers to modern masterpieces like Arrival, Children of Men, and Moon.

Read their full list here: https://www.cbr.com/sci-fi-thrillers-perfect-start-to-finish/

Each film on the list blends suspense, mystery, and moral questioning, proving just how versatile and thought-provoking sci-fi can be when it leans into its thriller roots. Whether it’s V for Vendetta’s political rebellion or 12 Monkeys’ time-bending chaos, these stories remind us how powerful pacing, tone, and theme can be when every frame counts.

Filmmakers — when you think about your own work (or dream projects), which sci-fi thriller do you think sets the bar for tension, worldbuilding, or storytelling perfection?

Directing a film is a complex job that requires a unique blend of creativity, technical skill, leadership and budget acumen. While directors are usually the visionaries behind any film, we are also human beings with different skill sets, individual vulnerabilities and insecurities.

Despite our outward confidence and creative vision, we often have to deal with a myriad of insecurities that hide beneath the surface. These insecurities manifest themselves in various ways, influencing our approach to storytelling, self-expression and collaboration.

As a director, true confidence in our ability includes a deep-rooted belief in our skills, creativity, and capacity to overcome challenges. It also involves understanding (and acknowledging) our strengths and weaknesses, as we continuously seek to improve and learn from our experiences.

True confidence also means trusting our instincts and vision while being open to collaboration and feedback from others. It involves resilience in the face of setbacks and the ability to adapt to changing circumstances. (We’ve all been there!) Ultimately, we need to continually focus on our forward progress (and continuous improvement) for our entire career.

As film directors, we have to have the courage to take risks, make decisions, direct our actors and lead our crews with conviction toward realizing our unique artistic vision which builds genuine confidence in ourselves and helps to achieve our aspirations.

20 Common Insecurities that Directors May Experience (And How You Can Navigate Them)

1. Ability to Communicate: Directors must clearly share their vision with the cast and crew. Struggling to express ideas can lead to inefficiencies and misunderstandings. Improving communication helps better collaboration and ensures everyone is in sync with the director’s vision.

2. Balancing Artistic Vision with Commercial Considerations: Directors often juggle their creative vision with budget limits and producer demands. This can be challenging, but finding a balance ensures the film stays true to its message while meeting financial and logistical needs. Directors must also negotiate compromises that satisfy stakeholders without compromising the film’s core message or aesthetic.

3. Comparison: Directors often compare themselves to their peers, both in terms of their work and their career trajectory. They may feel like they are falling behind or that they are not as successful as others in the industry. Focusing on their unique strengths and understanding that every career progresses differently helps combat these insecurities.

4. Creative Blocks: Struggling to find ideas or solutions can be frustrating for directors. This can be frustrating and can lead to feelings of inadequacy. Taking breaks, seeking inspiration, and collaborating with others can help overcome these blocks and spark fresh ideas.

5. Criticism: Directors face criticism from both collaborators and audiences, which can be intimidating. They may worry about how their work will be received and how they will be perceived by others. Learning to embrace constructive feedback and ignore unhelpful negativity is essential for growth and confidence.

6. Fear of Failure: Directing a film is a high-stakes endeavor, and the fear of failure is a common insecurity among directors. They may worry that their film won't live up to expectations or that it will be poorly received by audiences and critics. This fear can be paralyzing, but taking risks and learning from failures is essential for growth.

7. Financial Insecurity: Filmmaking can be financially risky, especially for independents. Directors may worry about how they will support themselves and their families while working on a project. Directors need careful planning, funding, and diverse income streams to support themselves and manage budgets effectively.

8. Handling Pressure: Tight deadlines, long hours, and challenges can overwhelm directors. Directors may worry that they are not coping well with the stress and demands of the shoot, leading to burnout, anxiety, or compromised decision-making. Managing stress and delegating tasks can help handle the demands of filmmaking.

9. Handling Conflict: Disagreements and challenges are common on set. Directors may fear that they are ill-equipped to navigate these conflicts, leading to tension, delays, or compromised relationships. Directors need strong conflict resolution skills to keep the team productive and maintain positive relationships.

10. Handling Praise: Directors may worry that they are not handling praise well, leading to imposter syndrome, self-sabotage, or an inability to fully embrace their achievements. Directors need to acknowledge their successes and use them as motivation for future projects.

11. Handling Rejection: Rejection is common in the film industry, whether from investors, festivals, or audiences. Directors may fear rejection will discourage them or make them overly critical. Building resilience and seeing rejection as a learning opportunity helps maintain motivation.

12. Handling Success: While success is desirable, it can also be daunting for directors who may feel pressure to replicate or surpass their previous achievements. Staying grounded, continuing to learn, and setting new goals can help directors manage success constructively.

13. Imposter Syndrome: Many directors, especially those who are just starting or working on their first big project, may experience imposter syndrome. They may feel like they don't deserve their success or that they are not as talented as their peers. Recognizing achievements and understanding that self-doubt is normal can help overcome these feelings.

14. Making Decisions: Directing involves countless choices, from casting to script changes. Directors may fear that they are not making the right decisions for the film, leading to doubts about the project's overall direction and quality. Trusting their instincts, seeking team input, and staying open to feedback can build confidence.

15. Managing a Team: Directing a film is not only overseeing creative aspects but also managing a diverse team of professionals, including actors, editors, cinematographers and production crew members. They may feel unsure about their leadership skills, but clear communication and inspiring collaboration are key to effective team management.

16. Navigating the Industry: The film industry is renowned for its competitiveness, ever-changing trends, and complex networks of relationships and opportunities. Directors may feel unsure about their networking or business skills, but understanding the landscape and building strong relationships can help them succeed.

17. Pressure to Succeed: Directors are under a lot of pressure to succeed both from themselves and others. They feel like they have to live up to certain expectations or they have to prove themselves to be taken seriously. Balancing ambition with self-care helps maintain clear thinking and creativity.

18. Staying on Schedule: Keeping on schedule is crucial for ensuring that the film is completed on time and within budget. Directors may fear that they are falling behind schedule or struggling to manage the logistics of the shoot effectively, jeopardizing the project's timely completion. Falling behind can cause delays, but effective planning, time management, and problem-solving help avoid setbacks.\

19. Staying on Budget: Budget constraints are a constant concern for directors who are tasked with managing resources efficiently to avoid overspending. Directors may worry that they are exceeding the budget or failing to allocate funds effectively, risking financial instability for the project. Directors must balance creative goals with financial constraints to prevent overspending and ensure the project's success.

20. Technical Skills: Directors may worry about their technical knowledge, like camera work or editing. They may fear that their lack of expertise could hinder their ability to bring their creative vision to life effectively, leading to subpar results on screen. Learning continuously and working with skilled crew members can bridge gaps and achieve the desired results.

So You Wanna Work in Movies? is a response to people who ask: “What do I do to get into Movies?” by Oliver Stapleton BSC http://www.cineman.co.uk/

...loglines would catch your attention? Which targeted words leap out at you? These are not the logline I'm currently using.

Had a great meeting yesterday with Andy Cutler. We discussed my feature. He suggested that I attach a director since this film needs a specific vision.

Survival of the Sparrows

When a fascist militia and foreign invaders seize control of America, an aging couple hides inside their barn’s secret room, until their home becomes a base for nuclear-armed drones, forcing them to fight back with wit, courage, and community to stop the imminent apocalypse.

OR

As America falls to fascist militias and foreign invaders, an aging couple’s hidden refuge becomes the control center for nuclear drones, forcing them to rise up and stop the apocalypse from their own backyard.

OR

When war reaches their doorstep, an elderly couple hiding in their barn must confront their fears, and their past, to stop nuclear drones launched from their own home before America is lost forever.

Thanks,

pete

Hey, Stage 32 Fam!

This week I’ve been challenging myself… to challenge myself more.

My husband and I started listening to Adam Grant’s Think Again on Audible, and it has turned into an unexpected creative reset button. We’ll listen for a bit, then pause whenever one of us wants to dig deeper into a concept — sometimes it’s one line or a whole chapter.

The book examines the critical art of rethinking:

Learning to question your own opinions,

Inviting yourself to stay curious rather than certain,

And building the kind of intellectual and emotional flexibility that lets you update your beliefs instead of clinging to them.

What’s struck me most is how hard it actually is to stop and reconsider anything: big opinions, small preferences, creative decisions, or long-held assumptions. Our brains are wired for certainty and efficiency, not uncomfortable self-examination. But the more we practice that pause…the better we get.

And honestly? It’s been freeing. I’ve found myself rethinking things I didn’t even realize I had cemented into place.

Now I want to hear from you:

What’s ONE thing you challenged yourself to rethink or reconsider in your creative life this week?

And what are you doing (or hoping to do) this week that challenges you to grow?

Let’s celebrate the wins, the reframes, and the steps forward, big or small!

Amazon says it will encompass “a team of creatives, business professionals and technologists to empower creators to responsibly integrate GenAI into content production through proprietary tools and services”.

https://deadline.com/2025/11/amazon-ai-studios-matt-newman-1236603477/

Florence Pugh is keeping it real again as she talked about the whole intimacy coordinator conversation, calling it a job that's still "figuring itself out."

She didn't throw shade, but basically said the job's not one-size-fits-all which is somewhat a refreshing take considering we've been in a black and white conversation. Some scenes need that support, others might not. It's a nuanced take on a conversation that usually has no middle ground.

Read more here: https://deadline.com/2025/11/florence-pugh-intimacy-coordinators-job-fig...

Directing a film is one of the most intensely solitary and intensely collaborative experiences you may ever have. It is not only about visually interpreting the screenplay and creatively handling actors, it also includes the ability to complete a day's work on time and on schedule.

Like any artist, a good director understands the necessity of working from the "inside out." In other words, a good director needs to work on him/herself first so they can develop the artistic, logistic and emotional skills that will enable them to better see and hear “the truth” in their work.

Ultimately, I believe the Director’s main job is to empower their cast and crew to work creatively and collaboratively with one firm goal in mind: to make the best film they can within the budget and time they have.

To be a film director today, you need to know the creative and technical filmmaking skills of what is expected of you when you begin pre-production; when you step on the set; and when you are in the editing room and to do this successfully, you must:

1. Have complete confidence in yourself and faith in your talent and ability: Believe in your vision and skills, even when faced with doubts or challenges. Cultivate self-confidence so you can make bold decisions and take risks. Trusting your talent and intuition helps you to stay true to your creative goals and push the boundaries of what you can achieve.

2. Have the courage and tenacity to stick it out "no matter what": Persevere through difficulties, setbacks, and criticism. True determination involves maintaining your resolve, even when the journey gets tough. Cultivate a mindset that embraces resilience, viewing every challenge as an opportunity to grow and learn. This will help you overcome obstacles and reach your vision, no matter how daunting the path may seem.

3. Have a relentless focus on what is possible rather than what is not possible: Shift your mindset from limitations to opportunities. Concentrate on solutions, innovations, and the potential outcomes of your ideas. By staying optimistic and forward-thinking, you can inspire yourself and others, creating an environment where creativity and problem-solving thrive. This approach will help you navigate challenges with a constructive outlook, leading to groundbreaking achievements.

4. Never stop searching for your unique voice, style, and expression: Continuously explore and develop what sets you apart from others. Embrace experimentation and self-discovery to refine your personal style and artistic expression. Whether through different mediums, techniques, or perspectives, keep evolving your craft. This ongoing journey will help you carve out a distinctive identity in your field, making your work resonate more deeply with audiences.

5. Stay true to yourself: it will guide you to the right people and the right choices: Trust your instincts and values, allowing them to direct your decisions and relationships. By being authentic, you attract like-minded individuals who share your vision and support your journey. This union with your true self ensures that you make choices that are both fulfilling and connected with your long-term goals, creating a career that reflects your true essence.

Peter D. Marshall

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I am a Director and Film Directing Coach. https://www.imdb.com/name/nm0551106/. I am also the author of “Making the Magic Happen: The Art and Craft of Film Directing” published by Michael Wiese Productions. https://www.amazon.com/MAKING-MAGIC-HAPPEN-Craft-Directing/dp/1615932658

Hi my name is zakariya and I’m in the process of making a short film as a concept called BLOOD BALLET I was wondering where do I gin next from there and can anyone help me out

My years in the film and TV business have taught me many things, but the main thing I have learned is to “remain human at all costs.” And by this, I mean to simply “treat others as you would like to be treated yourself.”

Making a film is a stressful job. You have to remember that there is a great deal of money and hundreds of careers on the line every time the camera rolls. It isn’t just about you and how much you get paid!

When you enter this business, you step into the world of “entertainment.” Television and movies are just one part of this “make-believe” environment. Dance, theatre and music are some other examples.

This is a business of artistic expression, massive egos and huge amounts of cash - a recipe for disaster if I ever saw one! It’s also a business where you can lose your soul if you’re not careful.

Remember the often cited (and industry-changeable) quote from Hunter S. Thompson: "The (television) business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."

With that in mind, I’ve created the following list of “10 Commandments of Filmmaking” which is my way of showing how anyone can (and should) work and survive in this business - without getting OR giving ulcers! This list also gives you some insight into my own personal philosophy and work ethic.

Here are my “10 Commandments of Filmmaking.”

C1. It’s only a movie - no one should get hurt

This one should be obvious. Making any kind of film or TV production can be risky because there are so many natural hazards on a film set: crew members can trip over cables, fall off platforms, the equipment can tumble on them, they can burn and cut themselves and they can slip downstairs.

Then there are the added hazards that are specific to our industry: breathing atmosphere smoke for long periods, accidents involving insert cars or process trailers, accidents involving stunts and special effects and noise hazards such as loud explosions and gunfire.

All crew members should be aware of the safety issues of working on any set. If you have any concerns or suggestions, talk to your shop steward, union representative or the First Assistant Director who, on most productions around the world, is the Set Safety Supervisor.

C2. Ask lots of questions and never assume anything

Don’t be afraid to ask questions. As the expression says, “The only dumb question is the one that was never asked.” Directors and 1st ADs have to listen and ask questions. If something doesn’t feel right, or it doesn’t ring true, or it doesn’t make sense, ask questions. Solve it now.

Assuming it will all work out or be “ready on the day” is wrong. If something in the script doesn’t make sense, or you feel something is not working, deal with it right away. Because if it doesn’t work in the script, it sure won’t work when you are on set. This attitude of “it will be alright when we shoot,” will come back and haunt you.

Never assume anything. Never! Fix it, change it, eliminate it, solve it, get rid of it. Whatever IT is, do something about it before you go to camera.

C3. There are no rules in filmmaking - only sins!

This is probably my best piece of advice. It's not original - it's a quote from the legendary film director, Frank Capra: "There are no rules in filmmaking. Only sins! And the cardinal sin is dullness.” I want you to always remember this quote, and as you get up each morning and walk onto that set, refer to it often!

C4. Listen to the people who know more than you do

When was a Second AD on the TV Series “Hitchhiker” in 1985, I had to run the set for the first AD while he did some scheduling. Well, after a bit I got a little flustered, as this was my first time running the entire set.

Suddenly I heard my name. When I turned around, the dolly grip was waving me over to him. As I came closer, he smiled and said, “It’s block, light, rehearse, adjust, shoot!” Words I will always remember.

The crew works on the set - all the time! That’s what they do. They see directors come and go. They know more than you do about their jobs. Always will. Listen to them and you will become a better filmmaker.

C5. You have to EARN respect - not demand it

The hierarchy of a movie is like the hierarchy of the Army: General at the top and Privates at the bottom. This means there will be people in higher positions that you won’t like or are unable to get along with.

Directors, 1st AD’s and DOP’s form the “Triumvirate” of any movie set. They are the people in charge. And many times you will be faced with the difficult task of working for months with one (or more) of these people who are egotistical, abusive, or sometimes, incompetent at their job.

In my experience, I believe that the majority of any cast or crew who act up on set are just insecure. And because they are in a position of authority working in a “creative environment,” they feel they are “allowed” to have temper tantrums and yell at people.

This will always happen - and sometimes it happens a lot. How I deal with this, and suggest you do the same, is to remember this military expression: ”You need to respect the Rank - but you don’t have to respect the person.”

C6. Don’t abuse your power - use Power Through not Power Over

As a Director, you have a very powerful position in the film industry. The Producers look to you to make sure the movie comes in on time and on budget; the cast looks to you for inspired and creative direction; and the crew looks to you for leadership.

The “rank” of Director means you get to carry “a big stick”. But a few Directors will abuse this power and yell and scream and make everyone’s life miserable. In other words, they will take advantage of their position and take power over people.

Now here’s a good thought…let’s yell at everyone and maybe they will work harder! NOT! I will always remember the dolly grip who told me early in my AD career, “If you don’t like this speed, you’re going to hate the next one.”

My philosophy is to take the other route. In other words, use "power through." What this means is to work with your crew and bring them all together as a team and work it out together. The crew knows you are in charge. You don’t have to flaunt it.

C7. Don’t be afraid to change your mind

I read a self-help book once that also had a set of ten commandments and one of them was "It's okay to change your mind." This makes a lot of sense, especially when you are a Director because you are making decisions all the time. Some of your decisions may need to change after you get more information from other people. The problem happens if your ego gets in the way.

I did that once as 1st AD. I thought I had the right answer and I didn’t want to change the schedule even though the Director and PM thought we couldn’t make it.

Well..we didn’t and I cost the production money because I didn’t want to do the extra work and also because I didn’t want to change my decision for fear that others would feel I didn’t know what I was doing. Lesson learned!

C8. A healthy Ego is necessary – Self-importance is unnecessary

There is an important distinction between Ego and Self-importance. Ego can be defined as “your consciousness of your own identity.” You need an ego in this business because Ego is important for your survival. Ego helps you to believe in yourself, it helps you to get up in the morning knowing that you still have things to learn but you are good at your job and you will get through your day by being fair and respecting others.

On the other hand, self-importance (or what I call “misplaced ego”) is “an inflated feeling of pride in your superiority to others.” I believe it is this trait (more than anything else) that makes working and surviving in the entertainment industry harder than it has to be.

Here’s my formula for knowing when you are working on a bad set:

(Insecurity + self-importance = people we all hate to work with!)

C9. Have a sense of humor – and learn to laugh at yourself

This rule should probably be #1 on this list.

In my experience, the best film sets are the ones that have a relaxed and professional atmosphere presided over by a creative director with no insecurity issues; an experienced 1st AD with no attitude problems; and a DOP who loves the collaboration process and realizes that “making a film is not all about the lighting!”

Making a movie is hard work, and the occasional break from the stress and intensity of it by a film crew having a laugh pays for itself many times over.

I have found that my sense of humor (and my large repertoire of bad jokes and puns!) has gotten me through some very difficult times. Also, I think it is important to feel that you can say to the crew, “I don’t care whether you laugh at me or about me, as long as you laugh!”

C10. Take 10 at lunch

When I’m shooting, I take 10 - 15 minutes somewhere off-set during lunch to have a bit of quiet time so I can “recharge my batteries.”

And if I can, I take off my shoes for a bit or change my socks. This can be a blissful moment – it actually re-energizes you. There’s probably some psychological or chemical reason for this that I don’t understand, but whatever it is, try it because it works!

As a Director, you have to be on your game all day and make hundreds of decisions with the crew constantly asking you questions. Taking some time for yourself during the day is really, really important to keep your body relaxed and your mind sharp.

Hey there writers! We have a fantastic new batch of Open Writing Assignments (OWAs) is now live! These opportunities come directly from top-tier producers and showrunners, including professionals with major network credits, and are specifically designed to find emerging voices.

But don't wait—these OWAs will be closing for submissions in just two weeks. This is your chance to get your work in front of industry leaders actively looking for their next project.

Here’s a look at the exciting opportunities launching today:

Heartwarming Holiday Content

- Producer/Showrunner seeks Christmas movies

- Looking for festive, family-friendly stories

Educational Youth Programming

- Producer/Showrunner seeks kids & teen content

- Focus on educational and uplifting material

Magical Family Stories

Director of Development seeks family features & pilots

Must include magical elements

Early-Career Writer Opportunity

-Producer seeks non-WGA/novice writer

- For political medical drama adaptation

- Requires authentic South Central voice

- Multi-POV, character-driven stories

Network Comedy

- Television Producer seeks half-hour comedy pilots

- Budget: $1-10M

- No sci-fi or dystopian worlds

Canadian Genre Films

- Award-winning Canadian producer seeks horror/thrillers

- Budget: Under $3M

This is a targeted call for compelling, producible stories. If you have a script that matches these needs, the OWA program is your direct pathway to submission!