Filmmaking / Directing

AI is good for technical matters, not creative matters. When referring to AI, most people are talking about things like ChatGPT or Gemini, for textual work, or Runway and others for graphic work. The former are mostly trained on LLMs (Large Language Models) and are statistical exercises. They are not talking or thinking, they are matching statistically probably words and phrases which might follow others. They do not process data correctly much of the time. You have to be quite sophisticated in the actual area of research and in dealing with AI itself to be able to get meaningful and accurate data. For the same statistical reason - no writing it produces is going to be any more than mediocre. The models don't allow for anything better,

From my perspective as a producer, regarding graphics and it's use in pitch packages ,consider: 1. Generative AI (runway, et al) is a consumer level product which works on a statistical base that, by definition, can at best produce mediocre results. It is not intended to produce professional, commercial quality work, and it does not. 2. You will find most AI has a specific look, similar to most other AI. This is because they were all trained on similar datasets. They cannot create something that does not already exist. They can only adapt what does exist, in a statistical average method. 3. Creators should be paying attention: audiences have quickly and increasingly become hostile to AI. You can find the term 'AI slop" from TikTok to private blogs to other platforms. 4. Youtube, and other platforms now require you to reveal the use of AI in your project. This is so they can help users avoid you. 5. You cannot unsee a graphic in your pitch. So if it is AI generated, ordinary, overused or just plain reveals you couldn't be bothered to spend the time to create something good, that message is seen and cannot be avoided. In law, before a jury, we will sometimes refer to inadmissible evidence - even though the jury is supposed to ignore it. We do that because we know the jury cannot unsee or unhear something. It will be taken into account no matter what else applies.

Thanks,

I think we are essentially saying the same thing.

I use it as a starting point with layouts and structure, but definitely not for content. I'm talking about press releases and one-page pitches.

We have utilized AI to generate front-page graphic ideas for our clients. But there are telltale mistakes with graphics, like people with six fingers.

The current (not talked about) issue with AI right now is that it's way too homogenous and overly effusive. Not that positivity is a bad thing, but that there's a specific pattern or rhythm to AI generated writing that once you (as a reader/audience of materials) see it, you can't unsee it and it's an incredibly big turn off. AI simply does not dig deep enough to express true emotion and feeling. Instead it paints over the feeling parts with generic descriptors to create the illusion of feeling, which makes AI written material hard to really connect with. This is all very hifalutin, but the optics once a reader/audience realizes materials were written by AI works heavily against you. It's only been a short while, but people who evaluate creative projects for a living are all tired of it already. I've had this discussion with dozens of working execs recently, and it really comes down to a fundamental point. If someone is reading and examining your project to see if it's something they want to invest millions of dollars in, and they can tell you didn't actually do the work, but rather you simply came up with a prompt then copy+pasted the results, then what does that tell them about you? Are you going to be able to grind to make a project a reality or are you going to constantly be looking for shortcuts? If you couldn't be bothered to dig deep on this project, which in many ways should be your form of creative expression, why would you be able to dig deep when it counts and there's money on the line? People don't want to work with slapdash artists. They see right through the laziness because they want to work with real creatives who have passion for this medium at every stage. End of the day, this is one man's opinion, and AI is a tool available for all to use, but the AI images have grown super tiresome and the AI synopses/pitch materials all blend together at this point. As a creative, you have to understand that execs are seeing hundreds of AI-generated slop pitches, so you need to be focusing on what you can do to actually stand out with engaging graphic design and storytelling that jumps out and screams hey this was written by a real person with something to say.

Which is exactly why I use it for structure and not content.

Muddy. If it's your short and you are financing it, then you can hire a (physical) producer to help during the production or production services and pay them for their work but they would not be entitled to any ownership. They would be a key hire like any other head of departments. If the producer is a creative producer and is packaging, helping raise the rest of the money etc, they could be paid off the budget + get a few points from the producers' pool but they'd need to pull their weight

“Thanks, Geoffroy — makes sense. In my case, since I’m carrying the financing and creative, it feels more like a hire situation than ownership. That’s where my instinct was leaning too.”

“Kay, thank you — that’s crystal clear. You’re right: for a short, it makes much more sense to hire a producer for specific deliverables than to hand over ownership. That helps me stand my ground.”

“Big thanks to everyone who weighed in — this really cleared the fog. Here’s where I stand: I wrote it, I’m financing it, so I own it. Period. Any producer on this project will be brought on as a hire with a clear job description and deliverables, not as a 50/50 partner. That’s the only fair split. Appreciate the wisdom — I’m walking into these talks with both clarity and confidence now.”

Hi Charmane he they are having a lend of you do it your self been there done that years ago

So excited for this webinar!!

You can sign up here: https://www.stage32.com/education/products/your-step-by-step-guide-on-ho...

Optioning a book is something I am asked about constantly. The good news is that you don't need to have a huge checkbook or be a Hollywood insider to do this. I'm eager to walk you through my experiences and hear how your respective journeys in this arena have been.

Thank you John- Paul! We're excited to be having you hosting us on Thursday!

My condolences to his family and friends. My favorite Robert Redford role is Lieutenant General Eugene Irwin in The Last Castle, Geoff Hall. I've been meaning to watch Butch Cassidy and the Sundance Kid for a long time.

Bishop, leader of a ragtag group of intelligence specialists in the comedy-drama "Sneakers," master thief Dortmunder in the crime comedy "The Hot Rock," and his tour-de-force solo performance as Our Man in "All Is Lost." And many, many more.

Thanks for all you did for independent film, too. RIP.

A friend of mine just mentioned this Geoff Hall - so sorry to hear. So many movies that I loved him in that it's hard to pick one. I did love "Sneakers".

Maurice Vaughan 5 you’ve got to see it, Maurice. It’s a great film and the chemistry between Robert Redford and Paul Newman is fantastic!

We have lost a great actor. His films and performances leave behind a legacy. I watched The Old Man And The Gun in the summer of 2018, and the older he got, the more he conveyed experience with style. R.I.P

Hey, Michael! Sorry I took so long to get back to you, my apologies. Hope you're having a great day!Truly a wonderful question — I’m happy to help explain more about MIPCOM.

MIPCOM is one of the world’s largest and most important global markets for entertainment content. It takes place every October in Cannes, France, and brings together content creators, producers, distributors, and buyers from across the globe.

It’s where deals are made for TV shows, films, and digital content to be sold, licensed, or co-produced internationally. If you're looking to expand your project's reach, meet decision-makers, or explore distribution opportunities, MIPCOM is a major place to do it.

Let me know if you’d like more info or tips on how to make the most of it — I’m on the Stage 32 Education team (available via email at edu@stage32.com ) and happy to help anytime!

Hi, LaDonna, will you be attended MIPCOM this year?

Hi, LaDonna! I completely understand the challenge of finding producers and executive directors who are genuinely interested in your genre of screenplays. If you’d like some recommendations, helpful tools, or information about the upcoming MIPCOM lab that could support your journey, feel free to email me at edu@stage32.com ..I’m happy to help however I can!

Or about other helpful resources outside of the lab, I am here as well.

Hey all, so excited to get going with the lab with the incredible Alexia! If you would like to sign up or have any questions, please email me at edu@stage32.com

Jeremy Cody , thanks so much.

Find the right DoP. Someone who is experienced, understands your vision and is willing to help you as a first time director. Massive element. Good luck!

You're welcome, Charmane Wedderburn. Can't wait to see your film! And one tip is take behind-the-scenes photos and videos you could use for promo material.

“Thank you, Elena — you’re absolutely right. The DoP will be key for me, not just technically but in protecting the vision. I’ll make sure to find someone who understands the poetry of this story. Grateful for the reminder.”

you never have enough time on set so REALLY think about your coverage. How much do you need, what's key to the story...storyboard and let actors surprise you.

GREAT work with your planning! Also, kudos that you attempted work around a boat - water may be the most dangerous to work with! The fact that you had a 3rd boat with all emergency personell tells me that no matter how "low" the budget, you still found a way to keep everyone safe - and FEELING safe - which is the most important thing.

I do think having a postmortem meeting with your team is worthwhile so you can find out directly from the people you worked with what could have gone better. Your 1st AD, your DP, your lead cast for sure - just to check in with them but also so you get actionable information. That's just my two cents ;-)

Will you be sharing BTS photos as well?! :-D

This is part of the "fleet"

Rescue team

And paradise :)

Gosh, I never thought how complicated the preparation of a scene like that could be...!

Desiree Middleton Yes, Arrival is actually one of the key comparables I’ve been working with—definitely had that in mind while shaping the tone and structure. I’ve also been drawing from NOPE, Battle Los Angeles, and Godzilla for different layers of mood, scale, and spectacle. Appreciate you catching that vibe—it means a lot!

Appreciate you, Oleksandr Shcherbyna—great insight all around. I’m aiming to keep things grounded in tension and clever problem-solving, not just big spectacle. The challenge has been balancing escalation while making sure the characters don’t feel “OP” like you mentioned, and that each sequence feels earned, not repetitive. There’s a lot of mystery around how the group works together, and I’ve been designing the threats so that the solution has to come from intuition or internal shift—not just power. Appreciate you catching that tone early on. Just finishing up everything today—been working on it all week.

Thanks so much, Paul Rivers—that means a lot to hear. I’ve been building 5,4,3,2,1 as something I’d want to experience on the big screen too, so knowing it resonated with you like that really pushes me to keep sharpening it. Appreciate the support big time!

Maurice Vaughan 5 Desiree Middleton Paul Rivers What do you think of a flying swarm of jellyfish, like box jellyfish or man o’ war, drifting like a poisonous fog, their see-through bodies glowing with electricity and stinging with long venomous tentacles?

That'd be terrifying, but it'd look incredible on screen, Dwayne Williams 2!

Great tips, Vincent Weberink! I look at photos and videos of locations online when I outline a script that I'm going to write. It helps me think of scenes and ideas.

I mean... just to be able to visit for a few months as I'm filming it? LOL Scotland, Japan, Korea, Brazil, Chile, Iceland - just to name a few!

Ooo, great tips, Vincent Weberink ! Also - just so ya know, Stage 32 doesn't do hashtags, as it is forum based (like Reddit). Just a heads up ;-)

Vincent Weberink It depends.... if the goal is fine wine and exotic women (I meant exotic locale); you can’t go wrong in some parts of Italy and France. I heard the CRAZY HORSE in Paris, France does it differently and could make quite a scene if a film involves clubs and nightlife, which some of my crime thrillers do.

If it’s historical cities, you’d be amazed how old the West Bank (11,000 years old) or even Gaza is, although I wouldn’t suggest shooting there right about now—it’s a different kind of hot.

If it’s historical sites, the University of Bologna in Italy is said to be 937 years old. That makes Harvard literally a baby at 389 years old, which is generally regarded as the oldest institution in the U.S.

If budget is an issue, you can shoot a 15-day indie at a cost of $6,000–$10,000 total somewhere in Asia or up to $120,000 in the U.S. or most of the "developed" Western countries. It depends on what the goal or specific circumstance is.

Congratulations on directing and producing the shorts, Frank Van Der Meijden! Congratulations on your documentary premiering in cinema last week! I enjoy watching movies I wouldn’t usually write.